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Something odd on disc 2. Track 22 is "The Conversation" and track 23 is "Inside". That's a little fast, I think. Shouldn't there be something like a "Kiss" between?

Yep and a great cue, can't wait to hear the rest of the score

JW: "Hey Arista, let's make this a 2LP set, okay?" Arista: "Sure, Mr. Williams."

Only the most enfranchised fanboys have any clue what the Old Republic era is all about. The period is almost entirely unknown to the casual Star Wars fan and moviegoer. It'd be a very rich area in the series' lore to explore. Definitely enough material to sustain a film trilogy.

Maybe if you're an amateur! Oftentimes, even The Conversation gets skipped over.

Statement from La-La Land on FSM: So glad you guys are excited by this release. To be honest with you, we didn't even think it was going to happen until we did Braveheart a few years back. We are deeply honored to have been able to bring this dream project to life with the full cooperation of Mr Horner's estate, agency, Fox, Paramount, Sony Music and Lightstorm (and we got it signed off on just as they started shooting the new Avatar films!). While it would have been nice to include the song, we were frankly told that IF we wanted to include it we may want to schedule the release for the 25th anniversary! lol You can bemoan all you want about the song, but the fact is that our goal was to present the original score as Mr Horner recorded for the film. The song would have been nice, but beyond complicated. We are film score fans. In the end, that's what matters the most. MV http://www.filmscoremonthly.com/board/posts.cfm?threadID=123920&forumID=1&archive=0&pageID=1&r=187#

It was somehow predictable that they wouldn't twice create a fully new cover, but one fully new cover and one familiar old fashioned cover. I like it! It's the opposite of E.T.! And the idea to include a dropped 2LP presentation ... just brilliant!

It's the exact same photo. OMG, they photoshoped the inclination of his head!

I think it is. I'm sooooo excited. I really can't wait. Common Disney, give us some track previews.

3:27 is just a variation on Anakin's theme, but a very nice one for sure.

I noticed that the Last Jedi soundtrack is now available for preorder on iTunes... just purchased my copy in advance. Man, only 3 weeks left to go... my nerd anticipation for both the score and film has been set to maximum overdrive. Can't wait!

What a great thread... just discovering it now. Bummer that a lot of the YouTube content has been pulled, but appreciate the timing & track references. This is actually one of my pet loves about JW's scores -- just these little moments that he drops in there, sometimes with these amazing themes that are never heard again. And it's always perfectly set to the story beats in the visuals (as if the musical accomplishment by itself wasn't enough). Not sure if it was mentioned earlier, but I feel like track 8 (He is the Chosen One) of the TPM soundtrack is basically an entire track full of these. These mysterioso chords at 0:03 to 0:24 that segue into something that sounds like it's going to be the Force theme, but doesn't quite get there: This painfully beautiful coda out of Anakin's theme at 0:31 and into this amazing religioso low brass chorale at 0:44 (segment ends around 1:01): This 12/8 agitato string figure that starts at 1:38, is joined by a partial statement of the Force theme, and then the segment winds down with a series of tender cadences starting about 2:01, the last one (2:14) punctuated with harp & celeste: And the end of this track -- I just wanna hug it, and squeeze it, and call it George. 3:20 starts with another one of these moving cadence passages that are all over this track, and then JW just casually drops this beautiful hymn for strings and winds (3:27; which we never hear again, AFAIK) which winds down with the horns changing the character from lyrical to noble. And can we just marvel at the precision of the LSO brass on that fanfare that ends the track? Every time I hear this I'm just stunned with the uniformity of articulation and note length, and better than even money it was that way right from the first reading: Now, if I were a film music composer, I gotta think I would give my left nut/ovary to have composed any one of these moments. And JW's scores have countless of these things.

Absolutely thrilled, and looking forward to the first appearance of Inside (kind of coming full circle to when one of my earliest purchases was a new record called Pops in Space, which included the SE material). The crossover arrangement of the theme will be missed - Meco's was disco, JW's much better one was closer to jazz funk - but it sounds fine on Audio Fidelity's 2015 release and I can see how it wasn't necessary here. I'm really glad the Maestro got to realize his original LP plans... with much better sound and editing. Hands down my fav score, or musical work of any kind, ever.

I can't believe it's real!

Reading the title Then reading the post

I'm sure I'm not the only one who repeats short musical moments (15 seconds or less) of a Williams' piece. I've discovered probably a close to hundred of these moments in Williams music, especially in his Star Wars scores... a few of them I enjoy more than the full cue. 2:36 - 2:47

I'm not doing that for JP I and II. Maybe for Harry Potter or Star Wars prequels or Hook, we'll see. And I live in Europe, the shipping fees are insane.

Do you know the meaning of the word "regret"?

The Snowman by Marco Beltrami. The film might be indeed a trainwreck but the score is something else entirely. Bit Herrmannesque, bit Elfmanesque... it is just perfect for a thriller set against a wintry backdrop. Very classy. One of 2017's very best (not a difficult task, by the way). Karol

I agree. I respect other composers for their work, but when I listen to their music, it just can't grab me. My inner voice tells me that nothing can't get even closer to John Williams music. John Williams is just a remarkable human being, always making me have goosebumps.

If Titanic is getting a release it means that everything can be done !

Indeed. It has more to do with the heavy influence of English music on his work. You hear strains of Britten or old English hymns all over his scores.

I started primary school in 1996.

(Spain 1519) (Cheldorado)

Impossible.

One of them writes the As, one writes the Es, another writes the C#-s...

http://www.instyle.com/reviews-coverage/music/tina-guo-wonder-woman-theme-song A quick google search reveals Guo and Zimmer co-wrote the theme. Tina Guo:

I woke up groggy this morning (forgetting all about the announcements) and was reading through the Die Another Day thread when someone mentioned "over in the TITANIC thread" and I was like Seriously great news to wake up to. I knew it was going to happen someday, just not this soon...if you can say twenty years on is 'soon'. It'll be very interesting to finally hear everything. I just re-read the following interview with Don Davis which is a great insight to the process: http://www.ign.com/articles/2000/07/17/interview-with-composer-don-davis-part-3-of-4 _______________ PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens. Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it? DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen, and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got. PLUME: I think that's a perspective that not very many people saw in that. DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent. PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens. DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director. He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that, well, maybe he would but there gets to be a point when it's too much. PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle? DAVIS: There are situations where directors give composers directives just to give them directives. Just to show "who's boss in this room." PLUME: Is it the film version of busy work? DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers, whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few, that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering, as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy. ____________ I talked to Simon Franglen a few months ago about Horner's synth work and he said that Titanic was 'the score with no budget'. About 60% was synth only. They wanted to replace the synth choir (which Simon built from seven different synths) with the Harlem Boys Choir but there was no money to do so. Here's a news article about Horner's original soundtrack deal. Wonder how much Johnny gets per album? Titanic Composer Sails to BankNEW YORK (Variety) - Forget the two Oscars he won for the music to ``Titanic.'' James Horner is creating more of a buzz for a ``Titanic'' soundtrack deal that has the composer homing in on a record payday that may be more than $20 million. Insiders familiar with the deal say it breaks down this way: Horner got an upfront scoring fee of around $800,000. But that's just the tip of the iceberg. He also gets royalty points on the instrumental soundtrack and shares publishing and songwriting fees for the Celine Dion hit ``My Heart Will Go On.'' Sources say the fees mean Horner will earn $1.20 per album -- a rate typical for platinum-selling superstar artists.

WOW!!! First E.T., now Close Encounters of the Third Kind! Following that, two new scores by the Maestro. Absolutely phenomenal. I cannot wait.

La Columna from Che! fits the bill, as do most of the tracks from the album. There are plenty of others to explore in Lalo Schifrin's oeuvre, but that is one of my favourites.

First cue released: Sounds pleasant enough. Excited for this one.

We better be getting more of these for Last Jedi, @Loert!

Black Friday is the official start of the season and The Discos are decorating the Xmas tree (and the rest of the house) this morning and playing two CDs What else but...

I also want to say that I love that the cover art hearkens back to the original OST cover instead of featuring the mothership.

Yeah I kind of dig it. The should put this kind of thought into more expanded editions.

The presentation might look weird at first glance, but its brilliant to listen to. It's a similar situation to ET, where the complete score is too long to fit on one disc, and the shortest cues are on disc 2 instead. If you notice, the first disc is only non-chronological in the first half; Once they escape and make their way up Devil's Tower its all straightforward. Cues combined on disc one stem from how Williams wanted the music presented back in 1977 for his planned 2LP set and really improve the listening experience by replacing abrupt endings with segues to music that fits perfectly in tone. Disc 2 is like an alternate presentation of the score again, starting at the beginning and ending at the end, and including many alternate takes of what you hear on disc 1, plus much of the same music that was combined with something else on disc 1 now in their own track so one can easily make their own C&C playlists if desired, as well as some of the cue combos from the final 1LP, too... and all the source music! It's really best to not worry about all that stuff though, and just put in disc 1 and press play, and then put in disc 2 and press play. Both are great listening experiences, and you should really experience this masterpiece of a score that way at least once to see what Williams and Matessino have cooked up here. If its not to your liking, a C&C playlist is super simple to create.

This looks like a definitive presentation of this score (how couldn't it be, with Neil at the helm!), and I hope it means Neil will get to keep going and do TWINE and TND next!

Also it could be that the score is MIXED very badly so that's why it was not standing out. It's been true of most JW scores in the past 20 years I think that Williams style of music, when mixed too low, doesn't do it any favors

I like the As the Jurassic World Turns Theme. Wish it had gotten more opportunity to really shine in the (awful) movie.

Indeed! They're both fantastic!

I Can Fly Anything! Was just watching that scene again a few days ago and was reminded how Williams' incredible cue transforms a normal ho-hum action scene into an absolutely marvelous piece of rhythmic excitement.

The Asteroid Field Desert Chase Scherzo for Motorcycle and Orchestra Into The Trap The Hunt Everybody Runs! The Quidditch Match To Scarborough Mine Cart Chase Follow Me (Both )

Assault? You can barely hear the score in the film. Elfman might have "Batman-ed the shit out of that one moment" but the sound mixers decided to almost entirely bury it under the sound effects. An average person won't even hear it. Karol

One of those little moments that's classic Williams, unmistakably him. Absolute perfection.

Chris Martin is a God. (no Coldplay jokes please)

She's a pistol! Hope you can handle her.

Not really a score cue per se. Poe Dameron play geetar and sing good.

I want to talk about how much I fucking love the rhythmic trumpet phrases you can hear in the bike chase cue when you see them flying over the houses. Where you can see all the pools. I'm pretty sure this is the only arrangement of the flying theme to include this. Really makes this climactic performance of the theme special. At 3:36, 3:40, 3:45 and 3:49

Indeed. And the ending fanfare is incredible