Hmmm... I'm afraid I have to disagree with most of this.

I won't be popular for saying so, but I found this probably the best score for quite a long time. Contrary to Mike's comments, I found it VERY individual, and a natural organic development of Williams' original themes. Davis managed to do a Williamsesque score, incorporating his very own trademark scoring technique throughout. It takes a lot of balls to do that, and do it so well.

It was quite refreshing to hear the original themes in this style. Sure enough, they came up when you didn't expect them - but this simply reinforced the reliability and robustness of the themes themselves - their ability to adapt and adjust to a situation different to that for which they were originally composed.

With regard to the lack of ethnic instruments and "exotic percussion", I can do nothing but applaud Davis for realising that there is no need to use stupid frivolous noises to "enhance" a score. These additions often blur the orchestral sound and indicate to me that a composer is incapable of invoking the appropriate mood with the standard instruments of the orchestra.

The themes were most definitely at a higher tempo as in the Williams score. That is Davis' perogative as composer, orchestrator, and conductor of the score. I would not say they were "too fast" - the speed increase gives them an entirely different persona and a fascinating insight into their depth and versatility.

Back when it was announced that Davis would score the film, many people were worried about what he would produce. I have always said that I thought Davis would come through in the end for us all, and I believe he has.

Of course, everybody is more than entitled to their opinion! :-)

By the way, I'm a composer myself, so don't give me any of that "What do you know?" nonsense.

:-)

Cheers all,

Danny French