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 Posted:   Jan 8, 2022 - 5:02 AM   
 By:   dave norris   (Member)

Anyone out there (way smarter and more energetic than me) have the savvy, courage, and time to compile a chronological track listing for all four of these soundtracks? Extra points of total impressiveness if source music is also included.


https://chrono-score.blogspot.com/search?q=Cobra+kai

 
 Posted:   Jan 9, 2022 - 8:10 AM   
 By:   Jason LeBlanc   (Member)

Artwork preview: https://warmbutter.com/albums/cobra-kai-season-4/

 
 Posted:   Jan 9, 2022 - 9:58 AM   
 By:   emusician   (Member)

Like the art work! Wonder why season 2 and 3’s covers were so… bland (no offense to those who designed, just happy to have the music)

 
 
 Posted:   Jan 9, 2022 - 11:38 AM   
 By:   henry   (Member)

I've seen this season 3 times already!

 
 
 Posted:   Jan 10, 2022 - 2:08 AM   
 By:   KeV McG   (Member)

We watched the first 3 episodes of this (S4) last night and it's still VERY daft but VERY enjoyable too.
The most depressing thing was seeing Terry Silver now!! eek I guess none of us are getting any younger.
Although the score works for the show, with the guitar and light rock/synth sound and does have some great moments too*, I can't disagree with the poster above who said that whenever an original Bill Conti theme is used the whole level goes up some serious notches.
Yes, there are some good ideas/themes from the current composers (and Conti's themes do have the benefit of 30+ years association with the series), but the Conti stuff is just beyond words in comparison, certainly to me.



*I think the scores REALLY improved from S3 onwards.

 
 Posted:   Jan 10, 2022 - 8:58 AM   
 By:   Sean Nethery   (Member)

I don't have the long association with Conti's music as I only watched the movies right before season 3 came out last year, and only then picked up the scores. (No real reason it took so long except I've always been fairly uninterested in sports/underdog films, and usually still kinda am.)

So for me it's a more integrated experience. I do think for long time score fans like me, Conti's longer-lined melodies have an extra power. But I think the whole shebang is great, I love all the new music. And it is all beautifully integrated with Conti's sound world.

I had put together the Karate Kid's and Cobra Kai's into one playlist, but found I liked it better separating them into two playlists. Felt more coherent grouped together.

We have so geeked out on this show that after watching seasons 1-3 a year ago, we leapt on season 4 last week, and then restarted to remind of us of everything, and we're just about through season 3.

This is genuinely one of the best series I've ever seen, with nuance and layering that is typically more suitable to novels than vids. And I'm digging the music!

Eagerly awaiting 4, which looks like it might come this week!

 
 Posted:   Jan 10, 2022 - 9:36 AM   
 By:   On the Score   (Member)

Hi All,

Sweep the Leg with a new Film Music Live videocast this Wednesday, January 12th at 1 PM (4 PM PST) as COBRA KAI musical black belts LEO BIRENBERG and ZACH ROBINSON join to talk about their most symphonically rocking work yet for the Season 4 rivalry of the Netflix franchise reboot to rule them all.

Be one of the first five people from The Valley (and the U.S. at large) to seek sensei advice and win Season 3 and 4 Cobra Kai CDs (courtesy of La-La Land Records) at the Dojo where you get to ask the questions to today’s top composers!

https://www.youtube.com/watch?v=K1C7yQ7I3eQ

Daniel Schweiger
Host, Film Music Live

 
 Posted:   Jan 14, 2022 - 1:10 PM   
 By:   Toby Reiser   (Member)

Just came in the mail...and it's autographed. Can't wait to give it a spin.

 
 Posted:   Jan 17, 2022 - 3:32 PM   
 By:   Sean Nethery   (Member)

Well, we watched season 4 and then rewatched the whole thing in about 10 days - and I never do that.

But the only piece I listened to online was It's Karate Time! Had to save myself for the LLL release.

Just uploaded the 2-Cds. And the first track I had to hear was the last one - Dungeon Lord!

I thought it was just going to be the game music in the early s4 scenes, but it's a great full-on piece.

Super glad I got this for the extras and the autographs - and the music, duh.

These are my favorite new scores of the last few years, hands down. And, um, I never thought I'd say that for music with so much electric guitar, but it's suhweet!

 
 
 Posted:   Jan 17, 2022 - 4:38 PM   
 By:   Dylan   (Member)

It galls me that Bill Conti isn't given a main credits co-composing credit - or original themes by Bill Conti

It used to be that if a film or show had an "adaptation score," both the old and new composer(s) would share the spotlight (such as Bernard Herrmann and Elmer Bernstein for the "Cape Fear" remake, or Herrmann's solo credit for the "Psycho" remake preceding Elfman and Bartek's credit, or the "Superman" sequel scores crediting Williams with his themes up front, etc.), and the fact that this isn't happening with new adaptation scores now means that something (I assume contractually) has quietly changed. The most egregious example of this so far is Elmer Bernstein's credit on "Ghostbusters: Afterlife" being relegated to the very end of the End Credits even though a great deal of that score is his music and it frankly feels wrong not to have Bernstein share a main title credit with Rob Simonson.

If anybody can share any more light on why this is the way things are in 2022, I would be very interested.

 
 Posted:   Jan 20, 2022 - 3:06 AM   
 By:   acathla   (Member)

Just took advantage of the Cobra sale (final day tomorrow!) and bought season 1, 2 and 3 + Karate Kid 1. Havent seen all the show yet (I'm half way through season 2 now), but I like what I see/hear so far. Only wish there wasnt so many short cues...but thats just how the show is, I guess.

 
 
 Posted:   Jan 20, 2022 - 5:42 AM   
 By:   JB Fan   (Member)

I also took advantage, bought season 1-2 (as I won season 3-4 - thanks again, Daniel!!!).
Never saw any season, but samples are rather nice, so... Why not? wink

 
 Posted:   Jan 20, 2022 - 5:53 AM   
 By:   JeffM   (Member)

It galls me that Bill Conti isn't given a main credits co-composing credit - or original themes by Bill Conti

It used to be that if a film or show had an "adaptation score," both the old and new composer(s) would share the spotlight (such as Bernard Herrmann and Elmer Bernstein for the "Cape Fear" remake, or Herrmann's solo credit for the "Psycho" remake preceding Elfman and Bartek's credit, or the "Superman" sequel scores crediting Williams with his themes up front, etc.), and the fact that this isn't happening with new adaptation scores now means that something (I assume contractually) has quietly changed. The most egregious example of this so far is Elmer Bernstein's credit on "Ghostbusters: Afterlife" being relegated to the very end of the End Credits even though a great deal of that score is his music and it frankly feels wrong not to have Bernstein share a main title credit with Rob Simonson.

If anybody can share any more light on why this is the way things are in 2022, I would be very interested.


Same deal with Scream (2022). Beltrami’s name isn’t mentioned anywhere in the booklet for the CD, nor is Zimmer (for the Broken Arrow material)

 
 Posted:   Jan 20, 2022 - 7:41 AM   
 By:   acathla   (Member)

It galls me that Bill Conti isn't given a main credits co-composing credit - or original themes by Bill Conti

It used to be that if a film or show had an "adaptation score," both the old and new composer(s) would share the spotlight (such as Bernard Herrmann and Elmer Bernstein for the "Cape Fear" remake, or Herrmann's solo credit for the "Psycho" remake preceding Elfman and Bartek's credit, or the "Superman" sequel scores crediting Williams with his themes up front, etc.), and the fact that this isn't happening with new adaptation scores now means that something (I assume contractually) has quietly changed. The most egregious example of this so far is Elmer Bernstein's credit on "Ghostbusters: Afterlife" being relegated to the very end of the End Credits even though a great deal of that score is his music and it frankly feels wrong not to have Bernstein share a main title credit with Rob Simonson.

If anybody can share any more light on why this is the way things are in 2022, I would be very interested.


Same deal with Scream (2022). Beltrami’s name isn’t mentioned anywhere in the booklet for the CD, nor is Zimmer (for the Broken Arrow material)


I noticed this too (about SCREAM)...a bit weird!

 
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