This was a bold soundtrack, for a very bold film. I'm not going to try to review it's merit as much as explain the thought processes to what went into what you hear, and the differences between the two soundtracks.
This soundtrack contains some of the songs from the film, plus the full score by Carmine Coppola. It also contains almost none of the dialog and sound effects that are on the original score put together by multi-Oscar winner Walter Murch. That soundtrack could prehaps be considered a narrative, like listening to the film, and it's interesting owning them both, and listening to both.
As to the score itself, Francis Coppola originally asked Isao Tomita to score the film with his synthesized orchestral sound. Synthesizers had started to find a use in film scoring at the time, other than just a fad with composers such as Gil Melle, Giorgio Moroder, Vangelis. However, Tomita passed, and in stepped Coppola's father, Carmine, known mostly for creating orchestral scores. Well, Carmine stepped up to the task, and scored the film as if he were writing for an orchestra, but hired the likes of Patrick Gleeson as a "master synthesist", Nyle Steiner to play his EVI and EWI wind synthesizers (best heard on Chef's Death and Voyage), Bernard Krause, Shirley Walker, Ed Goldfarb, Don Preston, Mickey Hart and Airto Moreina to aid with percussion, plus actual choirs, Randy Hansen playing guitar, and Carmine himself playing flute. The blend is actually a little dated now, especially if you're used to hearing mock orchestration, and electronic/orchestral blended scores by people like Hans Zimmer or James Horner, etc. But for what it is, and the time it created, it does contain some very beautiful passages that fit the film perfectly, almost like a time capsule, and one of the most bold and full electronic scores ever, certainly for that time.