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Well I listened to it and I gotta say great job La-La Land. I had a certain version of the score with less than stellar sound and not complete. So this was a very nice surprise. The sound quality is phenomenal and the score was better than I remembered.
Hopefully some day now that a complete score for The Fugitive has been released the complete score for U.S. Marshals will see the light of day. 
I still can't sit through it, managed some of the first disc only so far.
As for US Marshals, one of the most trite, stale scores Goldsmith ever wrote. But I'd probably end up buying an expanded album!!!!
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How does Goldsmith's score to the sequel compare to this?
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Have to say 'US Marshals' has a wonderful end title by Goldsmith that was, sadly, not included on the cd.
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I actually don't hear either glitch in my copy. Are you listening to a version you ripped to your computer? If so, that's probably your problem.
There are a number of issues that have been bugging me about this set, and I'm surprised they haven't really come up considering the number of people here who've purchased it.
The Fugitive is one of my "Holy Grails" (hate saying this, but this is my most-bootlegged title, having about 5 different versions of it), but this La-La-Land set was made with equal parts love and carelessness.
- First of all, the bootleg-looking artwork. Guys, seriously reconsider using Fein as your designer. The words LIMITED EDITION look like one of those Concorde bootlegs from back in the day.
- There are a number of tracks that were featured on the album that are not denoted. Perhaps this is due to the fact that the majority of the cues on this LLL release are combined (yes, I'm complaining about this again), so they could've gotten "lost" in their own album.
- Related to combining cues, I'm of two minds. For instance, the Concord (not to be confused with the bootlegger Concorde) release of the Indiana Jones scores was amazing, but the way Williams recorded the score, it was clear (judging by most of the new cues' "non-endings") that the intention was to have them merged. In that case, combining cues would've been helpful, but according to them, they had to preserve the original album (which doesn't make complete sense at times, but I digress). The other side of this is combining cues because "that's what it's like in the movie." We can all agree that the "Ultimate Edition" of The Phantom Menace was a huge mistake, right? Unless the track is 9 seconds long, I don't think that it should be combined with another cue. If it was written as a standalone piece of music (and not meant to be merged like the Williams Indy material), it should be a standalone piece of music. In LLL's Fugitive, tracks are sometimes merged to make them at odds with each other. I'm thinking about "The Dream/Kimble Dyes His Hair," where the two tracks couldn't be more different, and "The Montage/Cops Bust The Boys/Computer Search," where the latter third of the track just doesn't need to be in the index at all.
- There's a note in there about being able to "recreate the original album sequence," which is just blatantly false, unless it means, "recreate the original album by fast-forwarding 3 minutes of other music, and then putting up with crossfades that go 10 seconds into an original album cue, as if it's America's Top 40."
- The "Helicopter Chase" cue on the LLL edition is the Elektra album version (which is comprised of two cues: "Helicopter Chase" and "The Hand" - it's the "Copeland...be good" music). In Jeff Bond's notes, he writes that this section of the cue was "dialed out in the final film" but the music he's talking about appears two tracks earlier on the album (Granted, he might not've heard the final edition, but the music is literally 10 minutes earlier in the score)!
- Someone else mentioned a missing cue (the ID photo montage), but I honestly didn't notice that until he mentioned it.
- Alternates labeled incorrectly in the notes or on the packaging:
D2T12. No Press (Alternate) is actually No Press (No Sax).
D2T13. No Press (No Sax) is actually Kimble Dyes His Hair (No Sax). Is no one double checking this?
D2T14. Cops Bust The Boys (Alternate) - In the notes, Bond says he's not sure which bust this cue is referring to, even though it sounds almost exactly the same as the cue in the film, also titled "Cops Bust The Boys." He guesses that it's an alternate for the "Copeland Bust."
D2T16. Roof Fight Pt. 1 (Less Percussion) - I can't hear any difference at all, even though the notes suggest that it is "a less heavy duty version" of the cue as it appears in the film? What? Reading through the track analysis, it's hard to imagine that this was written by the same Jeff Bond who writes such great notes for the FSM titles (especially that Twilight Zone: The Movie set). Jeff, what the hell happened, man?
All of the space used for the "alternates" and the demo (which is honestly not interesting enough to warrant release) could've been used to put the ACTUAL (corrected) Elektra album tracks that were buried on the LLL version (like "Subway Fight," "Stairway Chase," "Sykes' Apt" and "It's Over").
After listening to the entire set and reading through the notes, while I still love this score and am extremely glad it's out there, I had to come to the following conclusions:
1. This was put together by people who clearly don't know this score well.
2. They aren't spending enough time with the package as a whole, because the whole thing looks like it was never proofread or scrutinized in any way before putting it out.
3. Whatever label is releasing FALLING DOWN, please don't combine cues, especially the action stuff at the end.
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Thanks for not yelling at me, Jeff. Part of my criticism of the set is that they're coming so fast and furious that I don't think enough "quality assurance" time is given to each release.
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I love this too and have listened to it almost constantly since I first received it, but I just wanted to point out those few-ish things that really put a blemish on the presentation.
Re: combining cues: I can understand Dan's point to an extent about wanting to make it an "album," but Elektra already had their chance to do that in 1993. Nobody is going to win a Grammy for these limited edition CDs, so I don't think you need to make an album of suites.
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