MICHAEL GIACCHINO

Aaaah, excellent!

It's great that there's so much music available of this series. I hope they continue with all seasons, which would be quite rare, I think?

No way! I've just had the WORST day of my life and now this? It almost makes up for all the crap that I've just been through!

And while I would have liked to have seen a 2 disc set with the complete score from the finale (much better than the season 3 finale score), 75 minutes of lots of little highlight cues should do nicely.

What are everyones hopes for the album? Mine are as follows:

THE BEGINNING OF THE END

- Hurley and Charlie sitting out Santa Rosa hospital. (If we're going to get a decent version of the flashforward theme it HAS to be this).

CONFIRMED DEAD

- Jack, Kate and Dan looking for the packs from the chopper and coming across the gas masks. Freakin 'awesome ending with the brass, and a great introduction to the freighter motif. And if we don't get this...

- The music when they come across Miles on the rocks, along with the second half of the cue that appears after his flashback. Another awesome brass ending.

- The introduction of the freighter theme, IN FULL, when Charlotte visits Tunisia.

- Vincent appears in the jungle with the tracker on. Violent action writing at its best!

- The Losties see the helicopter for the first time. We need a release of the reveal motif, and why not do it with this cue?

THE ECONOMIST

- Sayid on the golf course. I doubt we'll get it, but I love the bridge writing here.

- Team Locke comes across the line of ash. Simply because we need Jacob's motif.

- Jack tells Kate to go with Sayid and Miles to the barracks. A great cue combining various themes, and WHAT AN ENDING!

- Daniel carrying out his crazy experiments (the first cue with the catchy string motif and the introduction of his motif).

- Sayid, Kate and Miles arriving at the barracks and looking for the source of the noise (aka Hurley). Strange stuff for Lost.

- The helicopter taking off leading into the vets and Ben's reveal at the end. Best version of Sayid's theme; ever (although cut down on the repeating harp note at the end a bit).

EGGTOWN

- Locke and Sawyer running to the boathouse, leading into Mile's talk with Ben. Really violent versions of Locke's and Kate's motifs.

- Charlotte calls the freighter. Another version of the freighter theme with the more uber chord progression at the end. Ain't too fussed if we don't get this, and we probably won't, but the more freighter theme the better!

- Jack talks with Kate in the courthouse carpark to the end of the episode. Everyone likes Kate's love theme. Everyone likes Kate. So why not?

THE CONSTANT

- Arrival at the freighter. No reason needed. One of the best cues of the season.

- Elouise in the maze. Funky mickey-mousing music for Lost.

- Desmond's phone call to Penny. I hope this is here, but I have a feeling it might get ditched in favour of the version in TNPLH Part 3 (although it would make good thematic progression for a Lost album, which the previous ones have lacked individually).

THE OTHER WOMAN

- Dan and Charlotte look at the map to the Tempest. A bizarre version of the freighter theme played on the harp.

- Juliet and Goodwin on the beach. Aside from the bass line in "Sticking To Their Guns", we haven't had a nice simple version of Juliet's theme. Luckily here we get it in full.

- Ben shows Juliet Goodwin's body. Actually, screw the previous cue - let's have this totally messed up version with Ben's theme at the end.

JI YEON

- Opening scene with the freighter theme. Ominous shit, but I doubt we'll get it.

- Whats-her-face jumps overboard. These can't JUST be trombones can they? Awesome brass stuff, with more freigter theme at the end!

If there is one comment I can make here, it's that I hope they don't waste precious CD time on giving us another version of Sun and Jin's theme. We had like 12 versions of this on the season 3 soundtrack, and they're all exactly the same! I will only be happy with this if they give us the version that appears at the end of the episode that's mixed with the life and death theme.

MEET KEVIN JOHNSON

- Michael's mother tells him to shove it and Michael buys a gun. The ending of this while Michael walks down the alley is so worth it - plus as a bonus we get Michael and Walt's theme.

THE SHAPE OF THINGS TO COME

- Ben follows Ishmael (sp?!) and Sayid kills him. More violent writing, this time on Ben's theme.

- Ben visits Widmore. Des and Penny's theme played on a harpsichord? Yes please!

SOMETHING NICE BACK HOME

But not in this episode. A Jack-centric one with no music of interest? What a surprise! I wouldn't mind Mile's motif heard when he discovers Rousseau's and Carl's bodies though.

CABIN FEVER

- Locke and Horace - more weird suspense writing, plus the addition of the mission motif bass line from "The Island" in season 3. I don't know how well this cue would hold up on CD though.

- Richard visits Locke - my favourite cue of the season. This would suck the most if we didn't get it.

- Locke in the cabin. This could work on CD I suppose, even though it's just suspense stuff, although what I really want is the brass fall off at the end of the episode.

THERE's NO PLACE LIKE HOME (PART 1)

- Oceanic Six theme - both the piano version at the beginning of the episode and the epic version at the end. No excuse not to have these.

- Locke, Ben and Hurley trek to the Orchid. Trek motif #2 from season 2 makes an appearance and we get the new motif for Ben!!

- Arrival at the Orchid. More violent brass stuff, but it's probably too short to include. *sad*

THERE'S NO PLACE LIKE HOME (PART 2)

- Battle at the chopper. One big-ass violent action cue. We already have a pretty good variation of it on the season 2 soundtrack, but this one is so much sharper and more aggressive!

- Locke and Ben in the lift going down to the Orchid. My third favourite cue of the season. Really quirky to start with, then the freakin' awesome Orchid motif.

- The helicopter takes off. Again, no excuse not to put the awesome flying theme on CD!

THERE'S NO PLACE LIKE HOME (PART 3)

- Evacuating the freighter. The biggest action cue of Lost ever. The big loud finale piece.

- Ben says goodbye to Locke. This has a great new chord progression for Ben's theme.

- Ben turns the FDW. Similar to the above, but more epic (although I like the quiet version more).

- The Searcher appears. If we don't get the big version of Des and Penny's theme from "The Constant", we HAVE to get it here.

- Jack and co paddle to shore. Another version of the Oceanic Six theme. This isn't too different from the opening version on TNPLH Part 1, but it has a better ending. Plus it leads perfectly into...

- ...Jack at the morgue. The opening 20 seconds with the scariest string writing ever make this a must have. And the super-cool brass fall off at the end would be a great way to end the album. Hopefully they don't end it with the previous O6 theme cue as that would just fizzle out the album and leave me cold!

Like the season 3 soundtrack, I hope this focuses more on the loud and experimental music of Lost, and less on the emotional stuff that filled the season 1 and 2 CDs.

Season 4 is the most blunt, straight to the point, violent, adrenaline fueled and suspense ridden score of the show. Buy it!

My copy is already on order at Colosseum.

Let us know when this will appear for pre-ordering! Want!

Thanks, bought!

SAE should have it soon, hehe but I feel the same way.

I WANT IT NOW!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

there were some good moments in the score, but the tendency of Varese of placing the music on it that I don't want to hear, while forgetting the ones I do wanna hear has become too frequent, so I'm waiting to see if it really is worth it

Varese doesn't decide what music goes on their releases, the album producer (which 99% of the time is the composer) does.

then someone has to tell me why the hell Hellboy is such a lame release? Come'on, not even the main heroic theme is in it?

The same for the good main theme statement in the 24: Redemption score

Dunno. Lots of factors at play. Sometimes the album has to be produced before the score is fully-recorded (which seems daft), sometimes they do re-scoring after the album's already done, sometimes they use a different orchestra for some parts of the score than others (and so two sets of union fees would have to be paid, which isn't feasible), sometimes the composer just doesn't want the piece on there (remember that Jerry Goldsmith produced the original Planet of the Apes soundtrack album and left "The Hunt" - one of the single greatest pieces of film music ever written by anyone - off it). I'm quite sure though that it is not a case of Robert Townson sitting there and thinking "wow, this is a great piece, it will really piss everyone off if we don't put this on there - let's leave it off!"

Really looking forward to it!