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There are so many, especially from the sixties. Here are five:
The two Flint scores were perfectly re-recorded for albums, highlighting key moments and eliminating silly cartoonish affects.
Also from Goldsmith, the Sebastian LP, while brief, was ingeniously assembled: While not a re-recording, Goldsmith took bits from different cues and created seamless tracks.
John Barry's The Knack--each track is a marvel and recorded in glorious CTS sound. It would be wonderful to get the film tracks someday as an alternative presentation of the music.
Also, of the five Barry tracks on Midnight Cowboy, four were recorded for the album in England, resulting in one of JB's greatest and strangest releases--strange in that all five tracks are separate themes.
Since the purpose of the re-recording is to take film cues and re-do them for a stand-alone listening experience, thereby elevating the music's commercial potential, isn't it ironic that some of the best-selling soundtrack albums of the sixties--From Russia with Love, Goldfinger, Thunderball, You Only Live Twice, and OHMSS, were primarily the score cues. This says a lot--not only regarding Barry's commercial and dramatic instincts--but also about the recording studio--CTS Bayswater--and the engineers.
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Which ones are most different from the original recordings....
That's a good question actually. Of course, a lot of classic Henry Mancini albums were far removed from the music he wrote for the movies.
I think John Williams' ROSEWOOD is very different. Not really a re-recording, but still two very different albums. The original soundtrack album was excellent, with a lot of focus on the spirituals and choral music, very different in tone than the film score, which is more dramatic and darker. The La-La Land edition of both is really worth having; it's two different John Williams albums.
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JAWS
Notable changes including on the re-recording release extending the main theme, utilizing part of another track, and then allowing it to comes to a natural end.
Or the chase cues being more cohesive and driving than the film versions.
And extending the "Tourist on the Menu" cue to almost twice the length and making some changes to it. But both the re-recording and film recording have their merits.
And the "Hand to Hand Combat" cue has a better ending than the film recording.
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E.T. - I love the original score and was so happy when this was finally released as opposed to the 1982 album.
Plus there are many more!
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The entire "Side B" program of Chariots of Fire was a suite based on the film's themes, but created expressly for the album.
Even some of the cues heard in the film were significantly re-worked for the album. "Titles" was heavily remixed -- and even slowed-down (lowering the pitch).
As a young, naive budding soundtrack collector, I was baffled by the soundtrack album for Alien, since probably half the music on the disc was not heard in the film (and vice-versa). I kept wondering "Why is the main title completely different? Why is the end title completely different? Why is 'The Shaft' completely different?"
And when I saw the credit "Orchestrations by Arthur Morton" I assumed he was some guy who was hired to re-work the music for the album!
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The entire "Side B" program of Chariots of Fire was a suite based on the film's themes, but created expressly for the album.
I played that one up and down as a teen when my then girlfriend broke up with me. (Funny thing, many years later she contacted me and we spent a nice afternoon together together (totally platonic, we had other relationships at the time), and we went into a café... And there, in the background, played Chariots of Fire (the famous main theme though, not the ""Side B" program... Which I love).)
I love it when real life is sometimes like the movies.
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In recent years expansions have been mounted together with the OST remaster which is always great delight to have. When I got THE EIGER SANCTION for the first time I prefered to listen to the original album presentation first to be swept away by the album experience first and the result was very rewarding. The Expansion was a totally different experience. So its like best of both worlds for me.
There are quite a few expansions where the original album provides a unique and worthy listening experience, just as there are quite a few expansions that make the original album superfluous. I never returned to the original albums for STAR TREK - THE MOTION PICTURE or ALIEN once expanded editions arrived, but I do still listen to the suite from BOYS FROM BRAZIL or the original album for E.T. - THE EXTRA TERRESTRIAL.
Having both is indeed the best of both worlds, as once can choose.
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I didn't take this thread to be about OSTs versus expansions, but rather cases where the music has been re-recorded to such an extent that they sound far removed from the original tracks.
That was the original question, yes. Asking specifically for composer supervised re-recordings that sounded very different from the original tracks. As I said, I think a lot of Henry Mancini albums fit the bill, where on many albums the original, more classic dramatic score was nowhere to be found, instead replaced by easy-listening adaptations and source music.
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Yes THOR thanks..and I cant really think of a lot.BULLITT being in my TopTen scores of all time  is just really a different listening.And I love em both.
Schifrin recorded BULLIT even three times. The original film score tracks and the original soundtrack album tracks, both of which were released on one CD on FSM. Then he recorded both album takes and film takes again for a new album in 2000 for his own Aleph label. I like all three BULLIT albums. :-)
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