Friday, October 4, 2024

Spectre

 


Spectre
(Original Motion Picture Soundtrack)

Original Music by
Thomas Newman

In celebration of this year's Bond Day, Renovatio Records proudly presents a new album release of Thomas Newman's haunting score for Spectre, the 24th official James Bond film and the second directed by Sam Mendes. Daniel Craig reprises his role as agent 007, joined by Christoph Waltz, Léa Seydoux, Ben Whishaw, Naomie Harris, Dave Bautista, Monica Bellucci, and Ralph Fiennes. Spectre follows Bond on a globe-spanning mission to uncover a shadowy criminal organization known as SPECTRE. As he unravels the mystery, Bond is forced to confront figures from his past, all while questioning his future as a secret agent. While the film earned praise for its action sequences and performances, it faced criticism for its pacing, length, and reliance on formulaic narrative decisions. Still, it grossed an impressive $880 million worldwide, becoming the second-highest grossing Bond film after Skyfall.

One of the film's most lauded elements was the score by Thomas Newman, who came back after his acclaimed work on Skyfall. For Spectre, Newman crafted a score that further integrates his signature style while pushing the Bond franchise’s music in new directions. He skillfully weaves the iconic James Bond theme into the score in subtle and inventive ways, while also exploring a more introspective tone. With his use of delicate strings, haunting woodwinds, and layered electronic textures, Newman creates a sonic landscape that mirrors Bond’s internal struggles and the looming menace of the SPECTRE organization. Additionally, Newman uses location-specific cues to enhance the film’s international scope. Tracks like “Los Muertos Vivos Están” incorporate percussion, flutes, and guitars with Mexican flavor, while “Funeral in Rome” features an angelic choir to evoke the grandeur of Rome, giving each setting its own unique soundscape.

A distinctive action motif appears throughout key moments in the score, including the car chase in the cue “Rome Pursuit” and the high-octane sequences like “Snow Plane” and “Westminster Bridge.” However, much of Spectre’s score leans towards atmospheric, ambient textures, reflecting the film’s darker, more personal narrative as Bond faces off against his greatest nemesis, Ernst Stavro Blofeld. Tracks such as “CNS”, “The Pale King,” “Hoffler Klinik,” “Secret Room in L’Américain,” and “Oberhauser’s Base” feature subtle electronic pulses and abstract flute lines that evoke the shadowy presence of the SPECTRE organization, adding layers of tension and intrigue.

Newman's romantic themes are also a standout feature of the score, showcasing his ability to craft lush, emotionally resonant melodies. “Donna Lucia,” which accompanies Bond’s seduction of Lucia Sciarra, features delicate woodwinds and sweeping strings, while “Madeleine” develops a bittersweet, introspective yet romantic theme for Bond's evolving relationship with Dr. Madeleine Swann. The gentle woodwinds and soft strings of this theme are quintessential Newman, known for his ability to convey deep emotion through his music.

While some critics have argued that Newman's score lacks the classic Bond swagger of earlier entries, his work on Spectre offers a more mature and reflective take on the franchise’s music. It may not have the instantly recognizable, recurring themes of past Bond scores, but it compensates with intricate textures, atmospheric moods, creative use of location-specific sounds, and evocative romantic music. By stepping away from the more flamboyant jazz and rock influences that defined earlier Bond music, Newman allows the score to evolve in exciting new directions.

Originally released by Decca/Universal Music in 2015, the Spectre soundtrack contained most of Newman’s score but was criticized for being too lengthy, with extended ambient sections that challenged listeners. This new release from Renovatio Records trims the duration by almost 20 minutes, while still offering the score’s highlights, arranged in a chronological program that follows the film’s narrative arc that flows smoothly. Additionally, Sam Smith’s Academy Award-winning song “Writing’s on the Wall,” previously absent from the Decca release, is now included. Celebrate Bond Day by revisiting Spectre’s score and appreciating how Newman masterfully blends his style with subtle nods to the Bond musical legacy.


Track listing:

1. Los Muertos Vivos Están (2:45) - featuring Tambuco
2. CNS (2:17)
3. Funeral in Rome (3:43)
4. Donna Lucia (2:02)
5. Rome Pursuit (5:01)
6. The Pale King (2:35)
7. Hoffler Klinik (1:41)
8. Snow Plane (3:55)
9. Secret Room in L'Américain (6:21)
10. Madeleine (4:29)
11. Oberhauser's Base (3:33)
12. It's Good to Have You Back, 007 (3:40)
13. A Man Hard to Kill (5:21)
14. MI6 Demolition (3:32)
15. Westminster Bridge (4:20)
16. Out of Bullets (1:51)
17. Writing's on the Wall (4:38) - Performed by Sam Smith

Total Running Time: 61:44



Size: 329.2 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:

Original Music Composed by Thomas Newman

Score contains interpolations of the "James Bond Theme" written by Monty Norman

Produced by Thomas Newman and Bill Bernstein

Music Recorded and Mixed by Simon Rhodes at Abbey Road Studios, London
Additional Recording by Shinnosuke Miyazawa
Assistant Engineering: Lewis Jones, Gordon Davison, Matt Jones
Orchestrations by J.A.C. Redford
Orchestration of "Writing's on the Wall" by Simon Hale
Additional Arrangements and Programming: Simon Franglen
Music Editors: Bill Bernstein, Yann McCullough, Peter Clarke
Audio Coordination: George Doering
Digital Coordination: Shinnosuke Miyazawa
Music Preparation: Jill Streater, Global Music Services
Orchestra Contractor: Isobel Griffiths
Assistant Orchestra Contractor: Lucy Whalley
Concertmaster: Thomas Bowes
Choir: London Voices; co-directors: Terry Edwards and Ben Parry
Album Mastered by Simon Rhodes at Abbey Road Studios, London

Instrumental Soloists:
Guitars, dulcimers: George Doering
Synthesizers, drum programming:  John Beasley
Percussion: Paul Clarvis, Frank Ricotti
Electric violin: Sonia Slany
Alto flute, bass flute: Phill Todd
Piano: Thomas Newman

Tambuco: Ricardo Gallardo, Alfredo Bringas, Raúl Tudón, Miguel González
Percussion Arrangements by Yamil Recz

"Writing's on the Wall"
Written by Sam Smith and James Napier
Performed by Sam Smith
Produced by Jimmy Napes and Steve Fitzmaurice
Sam Smith appears courtesy of Capitol Records
A division of Universal Music Operations Limited

Score Published by United Lion Music, Inc.
"James Bond Theme" Published by EMI Unart Catalog Inc. (BMI)
"Writing's on the Wall" Published by Naughty Words Ltd. (PRS), Stellar Songs Ltd. (PRS), Sony/ATV Music Published (PRS), Salli Isaak Songs Limited (PRS), Universal Music Publishing Limited (PRS), United Lion Music, Inc. (BMI), U/A Music, Inc. (ASCAP)


Cue Assembly:

Track Title

Cue Title

1. Los Muertos Vivos Están

Los Muertos Vivos Están (Edited)

2. CNS

Vauxhall Bridge

3. Funeral in Rome

The Eternal City (Edited)

4. Donna Lucia

Donna Lucia

5. Rome Pursuit

Hinx

Backfire (Edited)

6. The Pale King

The Pale King (Edited)

Kite in a Hurricane (Edited)

7. Hoffler Klinik

Crows-Klinik

8. Snow Plane

Snow Plane (Edited)

9. Secret Room in L’Américain

L’Américain (Edited)

Secret Room (Edited)

10. Madeleine

Madeleine (Edited)

End Title (Edited)

11. Oberhauser's Base

Silver Wraith (Edited)

End Title (Edited)

A Reunion (Edited)

12. It’s Good to Have You Back, 007

Safe House (Edited)

13. A Man Hard to Kill

Blindfold

Careless (Edited)

14. MI6 Demolition

Detonation (Edited)

15. Westminster Bridge

Westminster Bridge (Edited)

16. Out of Bullets

Out of Bullets

17. Writing’s on the Wall – Sam Smith

Writing’s on the Wall – Sam Smith


SPECTRE (P) & © 2015 Danjaq, LLC, Metro-Goldwyn-Mayer Studios Inc., Columbia Pictures Industries, Inc. SPECTRE, 007 Gun Logo and related James Bond Trademarks © 1962-2015 Danjaq, LLC and United Artists Corporation. SPECTRE, 007 Gun Logo and related James Bond Trademarks are trademarks of Danjaq, LLC. 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 [0-01702-19097]

Wednesday, September 11, 2024

Batman Returns

 

Batman Returns
(Original Motion Picture Soundtrack)

Music Composed by
Danny Elfman

This year marks the 85th anniversary of Batman's first appearance in comic book history, and to celebrate, Renovatio Records presents a new release of Danny Elfman’s acclaimed score for the 1992 sequel Batman Returns. Directed by Tim Burton and starring Michael Keaton, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Michael Gough, and Pat Hingle, the film follows Batman as he confronts the power-hungry crime lord known as the Penguin, who schemes to control Gotham City alongside the corrupt businessman Max Shreck. At the same time, Catwoman emerges as a volatile, morally ambiguous figure with her own agenda for revenge. As the dark underworld of Gotham comes to life, Batman is caught in a battle not only to protect the city but also to navigate a tangled web of allies and enemies who blur the line between heroism and villainy. While the film received mixed reviews from critics, it was a box office success, grossing over $266 million worldwide and cementing its place in pop culture.

For the score, Burton once again turned to his longtime creative partner, Danny Elfman, marking their fifth collaboration. Elfman’s music for Batman Returns is a triumph of creativity, perfectly capturing the film’s darker and more eccentric tone. Departing from the more straightforward superhero sound of his original Batman score, Elfman crafted a richly complex and surreal composition. One of the most impressive aspects of the score is how Elfman tailored it to the film’s expanded roster of villains. While the iconic gothic theme for Batman, established in the 1989 film, returns, it is the two new themes for the villains that steal the spotlight.

The Penguin’s theme is an intricate blend of tragic operatic lyricism and circus-like whimsy, employing twisted woodwinds, low harp, and a haunting female choir. This mix of tragedy and carnival-style menace perfectly mirrors the character, sympathetically presenting him as both villain and victim. The development of the theme is nothing short of masterful. Cues like "The Penguin’s Lair" and the beginning of "Batman Vs. The Circus" introduce the theme in darker, more sinister tones, while tracks such as "Birth of a Penguin", "The Cemetery" and "Finale" offer solemn and tragic yet lovely renditions of the theme.

Equally brilliant is Catwoman’s theme, introduced in "Selina’s Transformation". With high-pitched strings mimicking a cat’s meow, the theme perfectly encapsulates her feral yet alluring nature. Elfman cleverly intertwines the themes for Batman and Catwoman, both beginning with the same three notes but diverging in opposite directions, with Batman’s line ascending and Catwoman’s descending. This adds complexity to their relationship, reinforcing the tension between them. Their themes clash and weave in tracks like "Sore Spots", "Rooftop Encounter" and "Final Confrontation", creating a musical narrative that speaks to their intricate dynamic. Similarly, the Penguin’s theme often finds itself in direct combat with Batman’s, particularly in action cues like “Batman Vs. The Circus” and “The Penguin’s Master Plan,” where the two themes battle for musical dominance.

Elfman’s score also blends in Christmas-like tones, maintaining a delicate balance between eerie whimsy and darker, more tragic elements. Some may argue that Batman Returns lacks the heroic grandeur of Elfman’s original Batman score, but it’s clear that Elfman was more focused on exploring new emotional and thematic depths. The score’s richness and complexity make it a fascinating, immersive listening experience, especially for those drawn to Elfman’s unique style.

In addition to the score, Elfman co-authored the song "Face to Face" with the alternative rock group Siouxsie and the Banshees. The song plays during the pivotal masquerade ball scene where Bruce Wayne and Selina Kyle (Batman and Catwoman's alter egos) confront their identities, adding an additional layer to their romantic yet doomed connection. The song seamlessly blends orchestral elements from Elfman’s score, weaving in elements of all three of the major character themes, making it a standout piece in the film’s musical landscape.

Over the years, Elfman’s Batman Returns score has seen multiple releases, each offering different content and sound quality for fans and collectors. The original 1992 release from Warner Bros. Records offered a 54-minute selection of highlights, featuring the major thematic cues and action pieces, but presented them out of chronological order and omitted some of the more intricate transitions. Additionally, the sound quality of this release was a point of discussion, with its mix often described as flat and lacking in depth, causing many elements of the rich orchestral recording to be muted or lost in the background. In 2010, La-La Land Records released a 2-CD edition (reissued in 2014) that presented the complete score, including previously unreleased cues and alternate takes. This edition allowed listeners to dive deeper into the thematic richness and character motifs that Elfman carefully developed. However, for casual listeners, the expanded edition may feel overwhelming, as its extended length and intricate details can be too dense for those looking for a more streamlined experience.

Renovatio Records’ new release strikes a middle ground, offering a more concise, yet still comprehensive, version of the score. Presented in chronological order, it allows for a more cohesive listening experience while preserving the key musical highlights and thematic progression. Batman Returns remains one of Elfman’s most inventive and memorable film scores, a perfect companion to Burton’s dark, fantastical vision of the Caped Crusader, and a testament to Elfman’s unparalleled ability to create mood and character through music.


Track listing:

1. Birth of a Penguin (2:26)
2. Main Title (3:12)
3. Batman Vs. The Circus (4:11)
4. The Penguin's Lair (4:40)
5. Selina's Transformation (5:30)
6. The Cemetery (3:12)
7. Cat Chase (5:22)
8. Sore Spots (3:15)
9. Rooftop Encounter (4:10)
10. Batman's Wild Ride (3:41)
11. The Fall from Grace (3:42)
12. The Penguin's Master Plan (6:48)
13. Final Confrontation (4:47)
14. Finale (2:41)
15. A Shadow of Doubt (2:18)
16. End Credits (4:47)
17. Face to Face (4:18) - Performed by Siouxsie and The Banshees

Total Running Time: 69:00



Size: 391.5 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 by Danny Elfman

Produced by Danny Elfman and Steve Bartek
Executive in Charge of Music for Warner Bros. Inc.: Gary LeMel
Business Affairs: Keith Kajic

Orchestrations by Steve Bartek
Additional Orchestrations by Mark McKenzie
Conducted by Jonathan Sheffer
Contractor: Patti Zimmitti
Adult Vocal Contractor: Bobbi Page
Recorded by Shawn Murphy at Sony Music Scoring, Culver City, CA
Mixed by Shawn Murphy at CBS Television City, Hollywood, CA
Music Editors: Bob Badami and Bill Bernstein
Assistant Engineers: Sue McLean and Sharon Rice
Digital Editing and Mastering: Dave Collins at A&M Studios, Hollywood, CA
Copyist: Joel Franklin
Danny Elfman's Filmmusic Representation: Richard Kraft and Lyn Benjamin, The Kraft Agency, Inc.
Danny Elfman's Management: Mike Gormley and Laura Engel, LA Personal Development
Personal Assistant to Danny Elfman: Lisette Joselynn

"Face to Face"
Words and Music by Danny Elfman and Siouxsie and The Banshees
Produced by Stephen Hague
Record Engineered by Mike "Spike" Drake
Film Mix by Bill Jackson
Performed by Siouxsie and The Banshees
Courtesy of Polydor Limited and Geffen Records
Published by Warner-Tarmerlan Pub. Corp./Little Maestro Music BMI/Dreamhouse Music PRS.

Score Published by Warner-Tamerlane Pub. Corp. BMI

Cue Assembly:

Track Title

Cue Title

1. Birth of a Penguin

Birth of a Penguin

2. Main Title

Main Title

3. Batman vs. The Circus

Penguin Spies (Edited)

Shadow of Doom (Edited)

Batman vs. The Circus (Edited)

Introducing the Bat (Edited)

4. The Penguin’s Lair

Intro

The Zoo

The Lair (Edited)

5. Selina’s Transformation

Kitty Party

Selina Transforms

6. The Cemetery

The List Begins

The Cemetery (Edited)

7. Cat Chase

Selina’s Shopping Spree

Cat Chase (Edited)

8. Sore Spots

Sore Spots

Batman’s Closet (Edited)

9. Rooftop Encounter

Roof Top Encounters (Edited)

10. Batman’s Wild Ride

Batman’s Wild Ride (Edited)

11. The Fall from Grace

Fall from Grace (Edited)

12. The Penguin’s Master Plan

Umbrella Source

The Children’s Hour

War (Edited)

13. Final Confrontation

Final Confrontation (Edited)

14. Finale

Finale

15. A Shadow of Doubt

A Shadow of Doubt

16. End Credits

End Credits (Alternate)

17. Face to Face – Siouxsie and the Banshees

Face to Face – Siouxsie and the Banshees


Batman is a trademark of © DC Comics Inc. Motion picture artwork and photos © 1992 Warner Bros. 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 [0-01702-19070]

Friday, August 30, 2024

Minority Report


Minority Report
(Original Motion Picture Score)

Music Composed and Conducted by
John Williams

Renovatio Records’ new release brings you the impressive score for the 2002 science fiction film Minority Report, composed by John Williams. Directed by Steven Spielberg and starring Tom Cruise, Colin Farrell, Samantha Morton, and Max von Sydow, Minority Report is a futuristic thriller set in the year 2054. In this world, a specialized police unit known as Pre-Crime uses the visions of three psychics, or precogs, to predict and prevent murders before they happen. The story follows Chief John Anderton, the head of Pre-Crime, who believes in the system's infallibility—until he himself is accused of a future murder. Now a fugitive, Anderton must uncover the truth behind the accusation and confront profound questions of free will, fate, and justice in a world where the future seems predetermined.

For the score, Spielberg continued his long-standing collaboration with John Williams, marking their 18th project together. Williams' music for Minority Report perfectly complements the film's fusion of futuristic elements and classic film noir style. The score blends electronic textures with suspenseful, emotionally charged orchestral writing in a way only Williams can achieve.

From the very first track, "Murder", Williams sets the tone with a sense of unease. The piece masterfully combines electronic percussion with eerie orchestral effects, evolving into a driving motif for the relentless Pre-Crime and its organization. This motif is an effective circular quick-pace figure that adds urgency as it fittingly mirrors the loop logic of predicting crimes in order to prevent them. The Pre-Crime motif is expanded upon in the track "Pre-Crime to the Rescue," where it gains intensity as Anderton races to prevent a murder predicted by the precogs. As the plot thickens and Anderton becomes the hunted, the motif becomes more aggressive, most notably during the pulse-pounding middle portion of the track "Eye Scan."

Though Minority Report is a science fiction action film, it also delves into the personal tragedy of Anderton's grief over his lost son, Sean. For these moments, Williams introduces a melancholic and poignant melody, most memorably in "Images of Sean." Here, a synthesizer's vocal effect adds a ghostly quality, reflecting Anderton’s uncertainty about Sean’s fate. This theme is explored further in "The Swimming Pool" and "The Confrontation with Leo Crow," which underscore the emotionally charged scenes where Anderton confronts his past. In one of the film's most moving scenes, "'Sean' by Agatha," Williams uses longing strings and woodwinds as the precog Agatha envisions an alternate future for Sean, if he were alive. This theme, rich with noir elegance, flourishes in the final cue, "Main Credits (Sean’s Theme)," offering a hopeful rendition that is as appealing as any other of Williams’ extensive portfolio of highly personal dramatic themes.

Additional motifs enrich the score, with one of the most striking being a siren-like vocal theme for Agatha’s tragic past, introduced in "Visions of Anne Lively." This haunting motif recurs in "The Greenhouse" and the climactic "What Are You Going to Do Now, Lamar?". Another standout is the agitated string motif for the spyders in the track of the same name. Agitated strings and buzzing brass echo the suspenseful style of Bernard Herrmann, humorously underscoring the scene in which tiny spider-like robots are deployed in an apartment complex to look for Anderton.

Minority Report also features several thrilling action sequences, for which Williams composed kinetic, adrenaline-pumping set pieces. Tracks like "Everybody Runs," "The Chase," and "Anderton’s Great Escape" showcase his mastery of orchestral action music, with aggressive percussion and complex brass arrangements driving the excitement. Williams also explores darker, more unsettling passages in cues like "Visions of Anne Lively," "The Swimming Pool," and "What Are You Going to Do Now, Lamar?," each contributing to the film's tense atmosphere.

An important musical idea is also found during the closing cue “A New Beginning”, which transforms the Pre-Crime motif into a redemptive and lyrical figure, a surprising yet fitting conclusion to a score filled with darkness and tension. Spielberg's optimistic outlook shines through in this final theme, balancing the film's grim narrative with a hopeful musical resolution.

The original 2002 release by DreamWorks Records offered a 75-minute presentation of the score, combining several cues into suite-like tracks, which altered the narrative flow. In 2019, La-La Land Records released an expanded 2-disc edition with 120 minutes of music, though its extended length struggled to maintain the listener's engagement. Renovatio Records' new release strikes a balance, retaining the highlights of the score while adhering to the film’s chronological order. This approach enhances the narrative flow and keeps the listener engaged, making it a must-have for both fans of the film and John Williams' work.


Track listing:

1. Murder (2:58)
2. Pre-Crime to the Rescue (6:41)
3. Images of Sean (2:44)
4. Visions of Anne Lively (3:32)
5. Everybody Runs (3:13)
6. The Chase (2:36)
7. Anderton's Great Escape (4:10)
8. The Greenhouse (4:34)
9. The Swimming Pool (4:21)
10. Spyders (3:27)
11. Eye Scan (4:59)
12. The Confrontation with Leo Crow (8:33)
13. 'Sean' By Agatha (4:49)
14. What Are You Going to Do Now, Lamar? (6:37)
15. A New Beginning (3:27)
16. Main Credits (Sean's Theme) (1:56)

Total Running Time: 68:37



Size: 361.2 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

Supervising Music Editor: Ken Wannberg
Music Recorded and Mixed by Shawn Murphy
Recorded and Mixed at Sony Pictures Scoring Stage, Culver City, CA
Assistant Engineer: Sue McLean
Music Preparation: Jo Ann Kane Music Service
Music Contractor: Sandy De Crescent
Vocal Soloist: Deborah Dietrich
Scoring Crew: Mark Eshelman, Jason Lloyd, Patrick Weber, Adam Michalak
Mastered by Patricia Sullivan FourStar
Mastered at Bernie Grundman Mastering, Hollywood, CA

Published by Fox Film Music Corp./Songs of SKG (BMI)

Cue Assembly:

Track Title

Slate Number and Cue Title

1. Murder

1m1 The Crime

1m2 Creating the Red Balls

2. Pre-Crime to the Rescue

1m6A Stopping the Crime (Part 1) (Edited)

1m6B Stopping the Crime (Part 2) (Edited)

3. Images of Sean

1m9 Images of Sean

4. Visions of Anne Lively

2m2 Agatha Springs Forward (Edited)

2m1 Presenting the Precogs (Edited)

2m5 Anne Lively

5. Everybody Runs

2m6A Elevator Confrontation

3m1 Anderton on the Run

6. The Chase

3m4 Anderton’s Escape

7. Anderton’s Great Escape

3m5 The Conveyor Belt (Edited)

8. The Greenhouse

4m1 The Greenhouse Scene (Edited)

9. The Swimming Pool

4m5 The Swimming Pool Scene

4m3 Dr. Eddie and Miss Van Eyck (Edited)

10. Spyders

5m2 Robotic Spiders (Edited)

5m3 In the Tub

11. Eye Scan

5m4 Saving the Eyeball (Edited)

5m8 Agatha Sees All (Edited)

12. The Confrontation with Leo Crow

6m1A The Man in the Window

6m1B Crow’s Hotel Room (Edited)

7m2 Anderton in Halo (Edited)

6m2 Last Scene with Crow (Edited)

13. ‘Sean’ By Agatha

6m3 Remembering Sean (Edited)

7m1 Run!!! (Edited)

14. What Are You Going to Do Now, Lamar?

7m6 Confronting Lamar (Edited)

7m7 Thought Transference and Finale (Edited)

15. A New Beginning

8m1 A New Beginning



Motion picture artwork, trademarks, and photos © 2002 Twentieth Century Fox Film Corporation and Dreamworks LLC. 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 [0-01702-19065]