The Lost World: Jurassic Park

 

The Lost World:

Jurassic Park

(Original Motion Picture Score)

Music Composed and Conducted by

John Williams

For this year’s Jurassic June, Renovatio Records is thrilled to present a new album featuring John Williams’ riveting score for The Lost World: Jurassic Park. Released in 1997, this film is the second installment in the Jurassic Park franchise, serving as a direct sequel to the 1993 blockbuster Jurassic Park. Loosely based on Michael Crichton's 1995 novel The Lost World, the film was directed by Steven Spielberg and stars Jeff Goldblum and Richard Attenborough reprising their roles, alongside Julianne Moore, Pete Postlethwaite, Arliss Howard, Vince Vaughn, Vanessa Lee Chester, Richard Schiff, and Peter Stormare.

The plot revolves around John Hammond losing control of his company, InGen, to his nephew, Peter Ludlow. To avoid bankruptcy, Ludlow plans to send a group of hunters to capture the dinosaurs living in Isla Sorna, where InGen's dinosaurs were cloned, to build a new theme park in San Diego. In response, Hammond assembles a team led by mathematician Ian Malcolm and his girlfriend, paleontologist Sarah Harding, to document the dinosaurs and advocate for non-interference. However, a clash between the two groups leaves them stranded on the dangerous island, forcing them to work together to escape the primitive island.

The Lost World was one of the most anticipated sequels of all time. However, upon release, the films received mixed reviews from critics, who cited a lack of character development, familiar rainy nighttime settings, and a formula-driven horror survival narrative as points of criticism. Spielberg himself expressed his disappointment with the film, admitting that it is far inferior to its predecessor. Nevertheless, it was a worldwide hit. grossing over $600 million, it was praised for its action set pieces, excellent cinematography, and extensive use of CGI and life-sized animatronics to convincingly bring the dinosaurs back to life. Even to this day, The Lost World stands as the most accomplished sequel of the franchise in this regard.

When it comes to the music, John Williams' score for The Lost World marks a thrilling departure from the familiar soundscapes of the original film. While Jurassic Park was imbued with a sense of wonder and majesty, Williams masterfully emphasizes the darker, more primal elements of Isla Sorna in the sequel, creating a bold and adventurous yet menacing spirit. Williams' new thematic landscape for The Lost World is strikingly distinct, setting the tone with a primary theme that echoes the raw, untamed environment of the second island. Though less melodically complex than the main themes of its predecessor, this aggressive but catchy theme grows in power and impact, underpinning the film's intense and perilous setting. Spielberg liked it so much that he re-used this suite in several scenes throughout the film, replacing many cues that Williams had previously composed, such as “The Round Up” and “Ludlow’s Demise.” Nevertheless, Williams still provides interesting treatments of the main theme in “Malcolm’s Journey” and “Leaving the Island.”

Williams also introduces a mysterious four-note ascending motif, opposed to the descending “carnivore” motif of the first film. This motif opens the film in “Prologue” and appears throughout, most notably in “The Raptors Appear,” where it grows in form, suggesting that on this island, the dinosaurs have ascended as the dominant species.

The main themes from Jurassic Park make brief appearances, with the adventure theme being the most prominent of the two. It briefly appears during “Hammond’s Plan,” “Infiltrating Camp,” and “Trek to the Complex,” with a dark, brilliant rendition in “Visitor in San Diego.” Williams provides a full ensemble performance of the adventure theme in the End Credits suite, perfectly rounding out the sequel.

Williams also treats certain dinosaur species with unique approaches. “The Stegosaurus” offers a return to the awe and wonder of the original score, while “The Compys Dine” uses screeching woodwinds to create an abrasive birdlike sound effect that mirrors the swarm of diminutive carnivores overwhelming their victim. Williams avoids relying heavily on thematic elements, allowing the percussion section to dominate the score. Many of the score's standout moments are undoubtedly the sequences that utilize these relentless, primordial rhythms. Tracks like “The Round Up”, “Sarah on the Glass”, “Rescuing Sarah”, “Ripples”, “The Long Grass”, “The Raptors Appear”, and the finishing minutes of “Visitor in San Diego” pulsate with energy, creating an immersive listening experience that will have on the edge of your seat.

All in all, despite its darker tone and increased intensity, Williams' score for The Lost World is a testament to his versatility and ingenuity. Initially released in 1997 by MCA Records, the score received mixed reviews due to audio mix issues. The 2016 La-La Land Records expanded edition fixed these issues and added nearly 40 minutes of unreleased material, which, though welcomed by fans, some felt it dragged the overall listening experience. This new release by Renovatio Records presents all the highlights of the score in chronological order, aligning with the film’s narrative arc and showcasing Williams’ ingenuity. Fans of the franchise will still find much to admire and enjoy in this exhilarating and innovative score.

Track List:

1. The Lost World (3:32)

2. Prologue (3:32)

3. Hammond's Plan (4:28)

4. Malcolm's Journey (3:35)

5. The Stegosaurus (5:25)

6. The Round Up (3:31)

7. Infiltrating Camp (3:17)

8. Sarah on the Glass (3:34)

9. Rescuing Sarah (5:07)

10. Trek to the Complex (5:54)

11. The Compys Dine (4:14)

12. Ripples (3:51)

13. The Long Grass (2:25)

14. The Raptors Appear (3:40)

15. Leaving the Island (2:09)

16. The Port (2:51)

17. Visitor in San Diego (7:35)

18. Ludlow's Demise (2:48)

19. Finale and End Credits (4:52)

Total Running Time: 76:20

Download Link

Size: 448 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by John Williams

Produced by John Williams

Executive in Charge of Music for Universal Pictures: Harry Garfield

Recorded and Mixed by Shawn Murphy

Recorded and Mixed at Sony Pictures Scoring Stage, Culver City, California

Orchestrations: John Neufeld, Conrad Pope

Orchestra Contractor: Sandy De Crescent

Assistant Engineer: Sue McLean

Music Editor: Kenneth Wannberg

Assistant Music Editor: Kelly Mahan Jamarillo

Scoring Crew: Richard De Armas, Grant Schmitz, Greg Dennen, Patrick Weber, Mark Eshelman

Music Preparation: JoAnn Kane Music Service

Published by USI B Music Publishing (BMI) © 1997

Cue Assembly:

Track Title	Slate & Cue Title
1. The Lost World	The Lost World (End Credits)
2. Prologue	1m1 The Island’s Voice
3. Hammond’s Plan	2m2 Revealing the Plans 4m2 Corporate Choppers
4. Malcolm’s Journey	3m1 To the Island
5. The Stegosaurus	3m3 Finding the Baby
6. The Round Up	4m3/5m1 The Round Up
7. Infiltrating Camp	5m3/6m1 Spilling Petrol (Edited)
8. Sarah on the Glass	7m2/8m1 Pain of Glass (Edited)
9. Rescuing Sarah	8m2 Truck
10. Trek to the Complex	8M3 Reading The Map (Edited) 10M3/11M1 After The Fall
11. The Compys Dine	9M2 The Compys! 9M3/10MA The Compys Dine (Edited)
12. Ripples	10M1 Rialto Ripples (Edited) 10M1Alt Rialto Ripples Alternate (Edited)
13. The Long Grass	10M2 Steiner In The Grass
14. The Raptors Appear	11M2 The Raptors Appear
15. Leaving the Island	12M2 Heading North
16. The Port	12M3 Ludlow's Speech (Edited)
17. Visitor in San Diego	13M1 A Neighborhood Visitor 13M2 Streets Of San Diego
18. Ludlow’s Demise	13M3/14M1 Ludlow's End
19. Finale and End Credits	14M2 The Saving Dart End Credits Intro

Motion picture artwork, trademarks, logos and photos © 1997 Universal City Studios, Inc. and Amblin Entertainment, Inc. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19066]

The Mummy

 

The Mummy

(Original Motion Picture Soundtrack)

Music Composed and Conducted by

Jerry Goldsmith

One of the most beloved action adventure films of the 1990s turned 25 this year, and here at Renovatio Records we want to celebrate its anniversary with a new album. We are thus proud to present Jerry Goldsmith's iconic score for The Mummy. Directed by Stephen Sommers and starring Brendan Fraser, Rachel Weisz, John Hannah Kevin J. O’Connor, Jonathan Hyde, and Arnold Vosloo in the title role, The Mummy is a loose remake of the 1932 film of the same name. Set in 1926 Egypt, the story follows adventurer Rick O'Connell, librarian Evelyn Carnahan, and her older brother Jonathan, as they travel to Hamunaptra, the City of the Dead, where they accidentally awaken Imhotep, an ancient Egyptian high priest who had been cursed and buried alive centuries ago.

Development of the film took several years, with the script being rewritten many times, as well as several directors, such as George A. Romero, Clive Barker and Joe Dante, being attached to helm the film. Eventually, Sommers’ pitch of a romantic action-adventure epic with a few horror elements earned the studio’s approval. At the time of release, The Mummy quickly became a huge hit for Universal Pictures, grossing $416 million worldwide against a budget of $80 million, with much praise given to its groundbreaking special visual effects (courtesy of Industrial Light & Magic), its tongue-in-cheek approach, and its outstanding musical score by Jerry Goldsmith.

Goldsmith and Sommers had previously collaborated on the action/horror film Deep Rising the year before, but The Mummy could not be any more different. For this epic adventure, Goldsmith wrote a large-scale symphonic score with heavy percussion, powerful brass performances, and several regional instruments such as the bouzouki, a Greek mandolin-like instrument, which is featured extensively throughout the score and lends an authentic Middle Eastern flavor to the music. 

At the heart of Goldsmith's score are four key thematic motifs. In his first cue (“Imhotep”), Goldsmith already introduces three of these, the first being an exotic theme for ancient Egypt, that makes a grand entrance with brass, choir and thundering percussion, underscoring an excellent shot where the camera pans over an Egyptian cityspace. This theme makes several other appearances in the form of action driven renditions in cues like “Tuareg Attack” and “My Favorite Plage”. During “The Caravan”, Goldsmith uses this theme as a basis to develop a majestic motif for a traveling montage, as the protagonists ride camels across the Sahara agains epic desert vistas; this track is one of the highlights of the entire score.

Complementing the ancient Egypt theme is a sinister motif associated with Imhotep and his curse. This theme is foreshadowed in “Imhotep” and “The Sarcophagus”, and remains dormant until Imhotep is resurrected and starts wreaking havoc in cues like “Locusts”, “My Favorite Plague”, “Sand Storm” and “Rebirth”. In these cues, the seven-note theme progresses from low and doom-laden performances to aggressive brass treatments and menacing choir, embodying the relentless brutality of the mummy's growing powers and actions.

The third theme, also introduced in the cue “Imhotep”, is a poignant love theme that Goldsmith dedicates to Imhotep and his illicit love, Anck Su Namun, the bride of Pharaoh Seti I. Later, Goldsmith uses this theme to underscore the romantic relationship between Rick and Evelyn. The love theme thus reappears in “Giza Port”, as the couple begin to like each other, and progresses into a sweeping treatment in “Camel Race”, a lush performance during the film’s climax during “The Sand Volcano”, and a full majestic statement with elegant choir accompaniment during the end credits cue “The Mummy”. Least to say, Goldsmith's love theme for The Mummy is one of Goldsmith’s career achievements and each of its performances steal the show.

The fourth and final theme is an swashbuckling heroic theme for Rick which makes its debut in “Tuareg Attack”, and is later given a powerful heroic performance during “Night Boarders”. Additional full-on action treatments of this theme reappear during “My Favorite Plague”, “Sand Storm”, and the tour de force “Rebirth”, which sees Rick’s theme struggling for dominance with Imothep’s theme as the cue progresses.

In addition to these thematic ideas, Goldsmith incorporates his signature motific approach and bombastic action material. Tracks like "The Crypt" and "Discoveries" exhibit the composer's mastery of suspenseful atmospheres, while cues like "Death Is Only the Beginning" deliver pulse-pounding excitement that will put your speakers to the test. In conclusion, Jerry Goldsmith's score for The Mummy is a tour de force of cinematic composition, showcasing the composer's unparalleled talent for storytelling through music.

Back in 1999, the score was released by Decca Records as an album that contained many of the work’s highlights, but it still omitted significant cues like the one for the sandstorm sequence. Several bootleg releases followed, most of them assembled with the music obtained from the DVD isolated score feature. In 2018, Intrada Records released a 2-CD limited edition that contained all the music that Goldsmith recorded for the film. While it provided excellent sound quality and a new mix by Bruce Botnick, as expected, much of the new music were filler suspense additions that make the album experience way too long for listeners. This new release by Renovatio Records addresses those issues and presents a new program that makes justice to Goldsmith’s outstanding score. A must-have addition to any fan's collection of the maestro.

Track List:

1. Imhotep (4:17)

2. The Sarcophagus (2:13)

3. Tuareg Attack (2:19)

4. The Desert Will Kill Him (2:22)

5. Giza Port (1:58)

6. Night Boarders (4:05)

7. The Caravan (2:41)

8. Camel Race (3:23)

9. The Crypt (4:13)

10. Discoveries (3:38)

11. Locusts (5:46)

12. My Favorite Plague (4:00)

13. Crowd Control (3:09)

14. Sand Storm (3:14)

15. Rebirth (8:23)

16. Death Is Only the Beginning (5:26)

17. The Sand Volcano (2:17)

18. The Mummy (2:26)

Total Running Time: 65:50

Download Link

Size: 421.4 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by Jerry Goldsmith

Original Score Produced by Jerry Goldsmith

Executive Album Producers: Sean Daniel, Jim Jacks, Stephen Sommers

Executive in Charge of Music for Universal Pictures: Harry Garfield

Orchestrations: Alexander Courage

Music Recorded by Mike Ross-Trevor at Air Studios and Whitfield Street Recording Studios, London, England

Music Mixed, Edited and Mastered by Bruce Botnick

Choir: The Ambrosian Singers

Music Mixed at Sony Pictures Scoring, Culver City, CA

Music Editor: Ken Hall

Orchestra Contractor: Isobel Griffiths

Music Preparation: Vic Fraser

Computer Programming: Nick Vidar

Assistant to Mr. Goldsmith: Lois Carruth

Soundtrack Coordinators: Randy Dry, Trevon Kezios, Kristen Turner

Published by Music Corporation of America, Inc. (BMI)

Cue Assembly:

Track Title	Slate & Cue Title
1. Imhotep	R1P1 Imhotep
2. The Sarcophagus	R1P3 The Sarcophagus
3. Tuareg Attack	R1P4 The Tauregs Attack
4. The Desert Will Kill Him	R1P5-R2P1 Closed Door R2P2A Undiscovered Creature
5. Giza Port	R4P1 Giza Port
6. Night Boarders	R4P3-R5P1 Night Boarders
7. The Caravan	R5P3 The Caravan (Edited)
8. Camel Race	R5P4 Camel Race R6P1 Ancient Mirrors
9. The Crypt	R6P2 The Prep Room (Edited) R6P3 The Scarab Tunnel (Edited) R6P4 Bad Air (Edited) R6P5 The Mummy Sarcophagus
10. Discoveries	R7P3 Discoveries
11. Locusts	R8P2-R9P1 The Locusts (Edited) R9P2 Never Stop
12. My Favorite Plague	R111P1A Wild D Chord R11P1 My Favorite Plague
13. Crowd Control	R11P2 Crowd Control
14. Sand Storm	R12PA Airplane Ride R12P1 Sand Storm (Edited)
15. Rebirth	R12P3-R13P1 p/u Intro Bugs Again R12P3-R13P1 Rebirth (Edited) R13P1A Rebirth Pt.2
16. Death Is Only the Beginning	R14P1 The Mummy Attack (Edited)
17. The Sand Volcano	R14P3 The Sand Volcano
18. The Mummy	R14P5 Love Theme

Motion picture artwork and photos © 1999 Universal Studios. This compilation and cover artwork © 2024 Renovatio Records.

All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19091]

Alien: Covenant

 

Alien: Covenant

(Original Motion Picture Soundtrack)

Music by

Jed Kurzel

To commemorate this year's Alien Day, Renovatio Records proudly presents the score for the 2017 film Alien: Covenant. Directed by Ridley Scott and featuring a stellar cast including Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride, and Demián Bichir, the film serves as a direct sequel to the 2012 hit Prometheus. The film follows the crew of the colony ship Covenant as they journey to a remote planet, only to confront perilous encounters with hostile life-forms, including the enigmatic android David, survivor of the ill-fated Prometheus expedition. While the film received mixed reactions from critics and audiences alike, its undeniable strengths lie in its breathtaking set pieces, impeccable production design, and heart-pounding suspense.

The music of the Alien franchise has always been a topic of discussion among film music enthusiasts. From Jerry Goldsmith's iconic score for the original Alien to the varied approaches of subsequent composers, including James Horner, Elliot Goldenthal, John Frizzell, and Marc Streitenfeld, each installment has brought its own sonic identity to the table. The significant variation of musical styles has elicited mixed reactions from audiences with some fans embacing the evolution of the music, while others feeling that certain scores deviated too far from the tone established by Goldsmith's original. 

The music Alien: Covenant was no stranger to controversies. Initially, Scott’s regular collaborator Harry Gregson-Williams was set to compose the score. However, the composer departed due to scheduling difficulties and creative differences. Scott then turned to Australian composer Jed Kurzel for the score. Initially met with skepticism due to this indie rock background, Kurzel defied expectations and managed to deliver a very accomplished piece of work.

In the score for Alien: Covenant, three distinct aspects stand out, each contributing to the film's immersive atmosphere and emotional depth. The first involves the interpolations of Goldsmith’s original Alien theme. Kurzel skillfully makes several hints and references to the classic woodwind, flute and trumpet ideas making standout performances in cues like "Covenant", "Planet No. 4" and "Launcher Landing", evoking a sense of familiarity and nostalgia for longtime fans while seamlessly blending with Kurzel's contemporary vision. The second aspect is Kurzel’s contemplative material that underscore the personal and existential struggles of the colony ship crew. Katherine Waterston’s character is treated with a lamentful piano melody in "A Cabin on the Lake", while a somber yet reassuring motif for the crew, often carried by a French horn, appears in cues such as "Neutrino Burst", "Sails", and the opening of "Terraforming Bay".  These themes effectively convey the characters' sense of loss and the weight of their mission, while also providing surprisingly warm tones. The third aspect is expectedly the horror element, and here is where Kurzel exploits his electronic textures, with ambient suspense and pounding rhythms to build tension and suspense. A two-note theme for the hostile life-forms adds an ominous layer, heightening the sense of danger and dread in cues like "Med Bay", Cargo Lift" and "Terraforming Bay". Kurzel also keeps the string section quite busy during suspenseful sequences. Cues like "Perfect Organism" include chilling bursts of high-pitched string mayhem that will certainly catch you off-guard and give you quite the fright.

Kurzel's execution throughout the score is also commendable, blending orchestral richness with innovative sound design to navigate familiar terrain with both personality and conviction. Moments like those heard in the latter half of "David Appears," as well as in cues such as "Derelict Ship" and "Creation," showcase a juxtaposition of traditional orchestration and modern soundscapes, evoking a captivating sense of both terror and wonder, a feeling that any fan of the Alien franchise can relate to.

Kurzel's score for Alien: Covenant was released as an album by Milan Records in 2017. While presented in chronological form, a number of the cues added to this album were fillers that disrupted the narrative arc of the film. Renovatio Records’ release addresses that issue; while much of the original program is retained, some cues were removed, unreleased material was incorporated, and many cues have been merged together to enhance narrative coherence and musical flow. Whether you're a die-hard fan of the franchise or a newcomer to the world of Xenomorphs, this album certainly promises to captivate.

Join us in celebrating Alien Day by immersing yourself in the spine-tingling soundscape of Alien: Covenant and revisiting our previous releases of the iconic scores that have defined the Alien franchise for generations. Today, we pay homage to the enduring legacy of Ridley Scott's visionary universe. Happy Alien Day!

Track List:

1. Covenant (3:18)

2. Neutrino Burst (2:42)

3. A Cabin on the Lake (2:49)

4. Sails (3:28)

5. Planet No. 4 (3:06)

6. Launcher Landing (2:33)

7. Derelict Ship (2:09)

8. Med Bay (5:55)

9. David Appears (5:09)

10. Survivors (2:03)

11. Payload Deployment (1:37)

12. Command Override (2:34)

13. Bestiary (3:48)

14. Creation (1:55)

15. Perfect Organism (2:54)

16. Cargo Lift Rescue (5:12)

17. Terraforming Bay (4:28)

18. A Kind World (1:38)

Total Running Time: 57:18

Download Link

Size: 276.3 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music by Jed Kurzel

Score Produced by Peter Cobbin & Kirsty Whalley

Executive in Charge of Music for Twentieth Century Fox: Danielle Diego

Music Supervised for Twentieth Century Fox: Patrick Houlihan

Music Production Supervised for Twentieth Century Fox: Rebecca Morellato

Business Affairs for Twentieth Century Fox: Tom Cavanaugh

Music Clearance for Twentieth Century Fox: Ellen Ginsburg

Music Programmer/Engineer: Matt Lovell

Score Orchestrated by Hugh Brunt, Adam Langston, James Brett & John Ashton Thomas

Music Preparation: David Hage for Dakota Music Service

Orchestra Contractor: Isobel Griffiths

Assistant Orchestra Contractor: Lucy Whalley

Conducted by Cliff Masterson and Robert Ames

Performed by London Contemporary Orchestra

Orchestra Leader: Thomas Bowes

Trumpet Solos: Phil Cobb

French Horn Solos: Richard Watkins

Cello Solo: Caroline Dale

Chamber Improvisation: Galya Bisengalieva, Mayah Kadish, Robert Ames, Gregor Riddell & David Brown

Solo Improvisation: Robert Ames

Pre-Record Flute Solos by Helen Greenwood

Score Recorded by Peter Cobbin

Score Mixed by Peter Cobbin & Kirsty Whalley

Score Editors: Cécile Tournesac & Fiona Cruickshank

Scoring Preparation: Cécile Tournesac

Score Recordists: Fiona Cruickshank & John Barrett

Assistant Engineers: John Prestage, Alex Fergurson & Matt Jones

Additional MIDI Programming: David Menke & Jean-Gabriel Raynaud

Score Recorded at Abbey Road Studios & Air Lyndhurst Studios

Score Mixed at Henry Light Studio, London

Music Editors: Tony Lewis & Arabella Winter

"Theme from Alien"

Composed by Jerry Goldsmith

Original Film Score Published by T C F Music Publishing, Inc. (ASCAP)

Cue Assembly:

Track Title	Slate & Cue Title
1. Covenant	1m3 Covenant
2. Neutrino Burst	1m4A Neutrino Burst
3. A Cabin on the Woods	1m4B Packing 1m5B Cabin on the Lake
4. Sails	2m6a Space Funeral 2m6b Sails
5. Planet No. 4	1m5a Team Meeting 2m7 Planet No. 4
6. Launcher Landing	2m9 Launcher Landing 2m10 Wheat Field
7. Derelict Ship	3m11 Spores (Edited)
8. Med Bay	3m13 Med Bay Creature (Edited)
9. David Appears	3m14 Tall Grass Attack 3m15 Dead Civilization
10. Survivors	4m17 80KM 3m16 Survivors of Prometheus
11. Payload Deployment	4m20a Payload Deployment
12. Command Override	4m21 Rosenthal’s Death 4m22 Command Override 4m24 Cargo Lift (Edited)
13. Bestiary	5m25 My Beautiful Bestiary 5m26 Facehugger
14. Creation	5m27 Chestbuster
15. Perfect Organism	5m28 Lonely Perfection (Edited) 5m29 Facehugger Second Attack (Edited)
16. Cargo Lift Rescue	5m30 David vs. Walter – Cargo Lift Rescue (Part 1) (Edited)
17. Terraforming Bay	6m32 I’m Here to Serve 6m36 Terraforming Bay (Edited) 6m36A Daniels Appears
18. A Kind World	6m38 Closing (Alien Covenant Theme) (Edited)

Motion picture artwork, photos and Fox Trademarks and © 2017 Twentieth Century Fox Film Corporation.

Cover artwork ©2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws.

For promotional use only.

Renovatio Records [0-01702-19061]