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Delorean90

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  1. Like
    Delorean90 reacted to Gurkensalat in HOOK (1991) - NEW! 2023 3-CD Ultimate Edition Produced, Edited, and Mastered by Mike Matessino featuring all Williams/Bricusse songs   
    I would include the songs from the main program, if I were fiddling with disc 3: We don't want to grow up, Pick them up and When you're alone. And if I would attempt a "Songs and other non-orchestral Material" album, what your inclusion of Concertina Medley suggests, I would also include Banning back home here. Saying that, perhaps I will do that now; could be a neat idea.
  2. Like
    Delorean90 reacted to karelm in John Williams named 2023’s most-performed living classical composer   
    Does this topic need its own thread?  Our Johnny has added another accolade to the list - he's the top performed living classical composer of 2023 beating out Arvo Part!
    Movie maestro John Williams named 2023’s most-performed living composer - Classic FM
     
    The report is based on the performances listed on its website last year, which numbered over 30,000.  
    Annual classical music statistics 2023 vx (bachtrack.com)
  3. Like
    Delorean90 reacted to Holko in HOOK Ultimate Edition - MUSIC Discussion   
    This ended up being my first pass at an edit:
     

     
    Main program:
    An overall problem I had is that the silences left between tracks are just getting too long for my taste, especially when many tracks already end with long held notes fading out, so I shortened the dead air at the end of many tracks. This and the joining of some tracks actually removed so much time that even though I added music to the main program from the bonus section, the length of my edit main program came back down to 2:16! Banning Back Home is the longer earlier version. The Bedroom is joined with The Nursery Scene with just a soft overlap, the latter starting near the end of the fadeout of the former - not sure if I'll keep this one together. When You're Alone (Moira's Lullaby) is soft joined with Saying Goodbye. Forgotten How to Fly is soft joined with The Stories Are True (Alternate), which I used to lose some of the repetitiveness and because I like how its lowkey ominousness leads into the Low Below section better. The Arrival of Tink and The Flight to Neverland are joined into one track but with no real overlap, I just wanted to get their timing right. Presenting the Hook is the vocal version. Enter Rufio and The Lost Boy Chase are joined with a hard overlap (last note with first note). I noticed that a version of the percussion is already there for a section of the main program Chase, so what I did was isolate the revised percussion overlay well enough by phasing the two versions, and put it under the main program version trying to match the volume of the percussion that's already there, this way it's all present (I like the sound of it a lot) but it's not as overpowering as in the bonus track version, and I don't lose the brass from the main program version either. Banquet and Never-Feast are joined, I selected a place in the repeating ending of the former where the latter would take over, turns out it's pretty much the same way JW joined them for the concert piece! Peter Remembers (The Flying Sequence) is joined with You Are The Pan with a hard overlap, this was the one that bothered me even back when I was just watching the movie on black friday while following along with the LLL tracklist, the latter so perfectly flows from the unfinished winding down energy of the former and caps the sequence off so nicely. Tink Grows Up is hard joined with Ultimate War which is hard joined with Death of Rufio which is soft joined with The Sword Fight and The End of Hook, because for the latter I couldn't find a way to hard join them that felt just right. Also, for the Lost Boy entrance segment of Ultimate War, I used the OST version first, then the insert. Lost Boy Fanfare overload! The bit for Peter's Entrance is just the main program version of course, it's a longer and better structured version of the original section which has nothing to add to it. I used the alternate Exit Music since it sounds richer. Then comes the source music/songs section.
    Mothers is the only big loss, it's one thing that I'm not a fan of the lyrics but her singing in it just puts me off completely. Instead of it being one big block, I split Smee's Concertina Medley into 3 parts, 0:00-1:34 (with a faked ending with the help of some added reverb), 1:34-3:48 and 3:48-end, so fast pieces, slow pieces, fast pieces. I like how the track is assembled like this on the LLL but for this program I thought this would be more fun and varied. I really appreciate Take Me Out to the Ball Game all being on the LLL as is, but for me it's a bit too long for what it is, so I got creative: 0:00-0:26 (one full "theme statement" ending with the bridging ending to transition it), 0:53-1:19 (one full "bridge section" with the bridging ending to transition it), then 1:46-end, overlapped with a reduced volume 1:19-1:46 (one more full "theme statement" with the finale, with the additional "bridge section with finale" to make it sound just a bit bigger for the reprise. And then finally my usual "alternates suite" where the orchestral alternates went, I tried to represent as many themes as I could:
    Hook Prologue Banning Back Home (Film Version) (joined pretty closely, almost to keep up the rhythm) The Stories Are True (LLL main program version since I used the alternate in my main program) The Never-Feast (0:57-end, the opening just felt more right this way, wanted to represent the insertless version even though I think the revision vastly improves its structure, then I just let it run because again it feels right for the next join) The Face of Pan (choral version, hard overlapped with the end of The Never-Feast which works surprisingly well, I love this but I left the instrumental in the main program so that You Are the Pan can remain a step up from it) The Arrival of Tink (Alternate) (1:55-end, the only different section is here) The Flight to Neverland (Alternate) (0:21-end, in the main program I struggled to hard overlap these two cues as they are and kinda gave up, but here I'm free to remove material from them and I found this perfect hard overlap point to join these two). Pirate Sequence (Instrumental) (0:00-3:12 or so) (Not a huge fan of the ending of this without the voices or brass so I took the perfect opportunity to transition here to... The instrumental version of Presenting the Hook, starting with the vocal version to utilise its clean opening then switching to the main program version, I also "fixed" the tempo jump in the first "line" so it wouldn't be out of place after the song's consistent tempo, then for a cleaner join I overlapped the clean opening with the piano in Pirate Sequence so that this starts at full volume right away but the piano fades out gradually. Farewell Neverland (Short Version - Alternate) (2:24-end, so only the last of the 3 cues) Exit Music (main program version since I used the alternate in the main program, these two play together remarkably well when leaving a gap about as long as between End Credits and Exit Music).
  4. Like
    Delorean90 reacted to Jay in HOOK Ultimate Edition - MUSIC Discussion   
    May I also humbly recommend trying the original, first version of Banning Back Home to be what's in your new main playlist instead of the revised film version?  I personally find it to be a superior composition and performance, and it's really what John Williams always intended, until the revision was done at the VERY last minute purely because Spielberg carved a minute out of the sequence.
     
    We actually discussed having that original version be the one in the main program, but the CD length limitations were so tight, they couldn't be swapped!
  5. Like
    Delorean90 got a reaction from crumbs in HOOK Ultimate Edition - MUSIC Discussion   
    My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

    Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

    I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.
  6. Like
    Delorean90 reacted to Holko in Danny Elfman's SPIDER-MAN (2002) - NEW! 3-CD Expanded Edition from La-La Land Records (2022)   
    Initially I wasn't too hot on this score, but when coming back I kept liking it more and more. The very fluid way the themes are used makes it less immediately accessible but it definitely rewards repeats! For example until reading the booklet this weekend, I didn't even put it together in my head that the Goblin has a proper theme, but now I can hear it all over. After my last listen through my edit, I just love this score.
     

    Some of the score is a bit patchy here and there so I had to move it around. Most cues begin and end satisfyingly enough so it was hard to find a place for some loose short bits. I also tried to incorporate as many of the alternate segments as I could.
     
    Changes:
    Spider Bite: I cut off Deadlines. Peter's New Powers: this is the biggie. I felt New Powers is a great self-contained piece that builds up the Spidey theme and ends well enough, so Web Slinger's additional nonthematic buildup and action right after felt tacked on. So I combined them! Basically I put Web Slinger's stronger opening and ending at the front and back, and put the remainder in the middle to extend a buildup. Web Slinger 0:00-0:15 (overlapped with the ending) New Powers 0:00-1:30 (overlapped to continue the buildup, sped up to 1.02 to match the tempo better) Web Slinger 0:14-0:42 (overlapped to transition better) New Powers 1:28-2:08 (end) Web Slinger 0:42-end Backyard Connection is the alternate, I just liked it a bit better plus it's longer I split Harsh Words / Peter Wins up and added them to the previous and the next track. Revenge is the alternate with the section from the OST restored, more music! Responsibility is City Montage, with City Stinger at the end moved closer so it feels more like a natural ending. Your Friendly Neighborhood Spider-Man is Moondance / Photography / City Stinger with City Stinger 2 again moved closer to overlap with Photography's end, it works really naturally. Norman Gets the Boot is Deadlines + Norman Gets the Boot / Spidey-Sense, this felt like a good place to move Deadlines to. I wanted to use both versions in Parade Attack, and I felt the main version is a better intro to Spider-Man's theme so I had to place the original section later, right before the Goblin's percussion takes over. Parade Attack (Film Version) 0:00-2:32 Parade Attack (With Alternate Section) 1:52-2:16 Parade Attack (Film Version) 2:32-end For Specter of the Goblin, I used a combination of the two openings, I thought the longer revision and the quieter original were both too interesting to just pick one over the other, so I did a long crossfade from the main program version to the alternate at the brass swell early in. This results in a bigger punchier opening, but then a quieter flute Goblin as we "cut inside" or something. Then I joined it with Roof Chat, and capped it off with Enter the Goblin, which I felt sucked in its original place on its own but isn't a horrible coda here. I added Father and Son to the opening of Fire since it opened somewhat abruptly and FaS was just an odd bit of nothing in its original place that only held up the momentum of getting to the finale. I switched and joined Drop of Blood and The Clue, I felt that helped a bit with the dramatic structure in this part. Norman's Troubles is of course the lovely longer alternate. Joined Danger / On the Bridge with To The Rescue seamlessy, then also joined in a Final Confrontation assembly from the two versions - here the alternate of the section is just a bit of action but the film version is big Spidey statements so the order was obvious: The Final Confrontation (With Alternate Opening) 0:00-0:53 The Final Confrontation 0:24-end The End Credits piss me off, they're so obviously written to just be an intro to the rest but then we have nothing on the OST or LLL, just a shitty annoying song in the film. So instead of my usual Alternates Suite, I made up a longer Credits! End Credits (Extended Version) Backyard Connection (since I used the alternate in the main program) - this one felt so natural with the Credits' softening end! Costume Montage, Web Practice (Alternate) - This one was a no-brainer too, its slowly growing opening follows the romantic cue nicely Norman's Troubles 0:00-0:45 (since I already used the alternate in the main program) Fire (With Alternate Section) 0:57-end - Started from the different segment but ended up just leaving the whole rest of the track in for more Goblin representation and a good transition point Getting Through - OST version for the alternate take and clean ending Main Titles (Album Version) - The songtrack version for the sliiiightly different mix. The 60s TV theme as a "hidden bonus track" Oh, also a new cover because I never liked the poster the LLL uses, he looks weird. So I used another poster, AI and some guidance and encouragement from @crumbs!
    It works for a thumbnail, don't zoom into the buildings too much

  7. Like
    Delorean90 got a reaction from Not Mr. Big in HOOK Ultimate Edition - MUSIC Discussion   
    I don't think of the score theme as more generic, but I DO wish we'd gotten some of those song progressions in iterations of the theme for sure.
     

    Looking forward to listening to this!
  8. Love
    Delorean90 reacted to Jay in HOOK Ultimate Edition - MUSIC Discussion   
    Hook Part 1 podcast is up, featuring Mike Matessino, @TownerFan, and @mahler3
     
    NEW PODCAST EPISODE! RETURN TO NEVERLAND: 'HOOK - THE ULTIMATE EDITION' PODCAST SPECIAL (Part 1) The Legacy of John Williams presents a multi-part podcast special dedicated to HOOK – THE ULTIMATE EDITION, a 3-CD set of John Williams’ magnificent score for the 1991 film directed by Steven Spielberg, now available from La-La Land Records. In Part One, soundtrack producer Mike Matessino sits down to talk about the genesis of Steven Spielberg’s 1991 fantasy epic, its place within the director’s filmography and the long history of how HOOK almost became a musical, while also addressing how it sits in the canon of the Steven Spielberg/John Williams collaboration; Matessino also talks about his friendship with lyricist Leslie Bricusse, the years-in-the-making process of assembling and producing the new set and his own personal journey to bring it to life with the utmost level of care and detail that such music always deserved. LISTEN tinyurl.com/23xppnvk Available on all major podcasting platforms.   https://www.facebook.com/thelegacyofjohnwilliams/posts/pfbid0e7oxKkcoyY7smUU5FfCFWi4Vdq53caF8vXKTofGAcdvikWMf1idWrTu5kqhzyrV8l
  9. Like
    Delorean90 reacted to Not Mr. Big in HOOK Ultimate Edition - MUSIC Discussion   
    I find myself greatly preferring Believe to its film score counterpart, which turns it into a more generic "wonder theme".  The slight changes in accompaniment and melody make it a lot more heartfelt and with a layer of melancholy even.  
    Reminds me of Remembering Emilie from War Horse or even parts of Schindler's List 
     
  10. Like
    Delorean90 reacted to Jay in HOOK Ultimate Edition - MUSIC Discussion   
    On a script level, songs were always a part of this film.  The family was going to be at a school play where the kids in the play sing a song, the lost boys were going to have a song to chant while training Peter, and Maggie was going to sing to the enslaved children to remind of their mothers.  These were all songs sung in-universe, not the Musical thing where they are showstoppers with choreography and are for the benefit of the audience to get insight into what characters are thinking.

    So Williams and Bricusse were hired to write initially just these three songs.  But Spielberg liked what they came up with so much, they kept writing and writing as he kept filming and filming, until eventually:
     
    "I had nine songs," says Spielberg. "I photographed two of them and at [composer] John [William]'s request cut them out of the movie. John was the one who saw them cut together and said, 'This is not the right template for a musical.' So we abandoned nine months of work and I just told the straight story of Captain Hook." (source)
     
    I believe by "template", Spielberg means that they did things backwards; to make a musical properly, you don't start with a completed movie script, then find places to stick songs into it.  You write the songs first that tell your story, and then you write the rest of the script around them.  So that's why Moira's Lullaby and Low Below were the only additional songs filmed and Childhood, Never-Song, and Stick With Me never made it past the demo stage.
     
    And that's why only those original 3 songs (well, with Mothers being replaced by When You're Alone as the enslaved children subplot largely got dropped) are the ones that remain in the final cut.
     
     
    I like your ideas!
     
     
     
    Yes, this is a not a score where any cues were radically changed through revisions.  The biggest change is switching from Childhood to hinting at Mothers in the rewritten first half of "The Stories Are True".  Other than that, the revisions are slightly different versions of the same basic idea.  Going from a short Childhood with fun descent end-cap to full on Childhood with the full melody for the arrival in Neverland.  Delaying the start of the Lost Boys theme until they are seen after the closeups of the food for the Never-feast.  More elaborate fanfare for Peter's arrival at the final battle (and seemingly a longer take of Hook's reaction needing different music), more Lost Boys theme for their arrival.  A lot of the rest are just different ideas from different takes around the same time or shortly after (like Tink's arrival and the basketball game).
     
     
     
    Me too!
  11. Like
    Delorean90 reacted to Jay in HOOK Ultimate Edition - MUSIC Discussion   
    It might only be crossed out on that sketch scan you are referring to because that is Ken Wannberg's sketch copies.  He wrote down at which bar to switch from one take to another for the requested performance edit, and the final performance edit used in the teaser trailer didn't include the viola passage.
     
     
    Maybe the teaser trailer got shortened after the version he was given that he wrote the sketch for, so when he showed up to record he had to shorten the composition and decided to cut those bars to accomplish that goal.  Then maybe once they felt they had gotten everything they needed for that version, he wanted to record a take with the viola line while everyone was there.  Maybe he had hoped to put that on the OST album, but then 6 months later at crunch time to get the OST album to the pressing plants before they were even done recording the score, they didn't have time for Armin to make a new digital edit.
     
    All of this is just speculation, we really have no idea what happened.
  12. Like
    Delorean90 reacted to Jay in HOOK Ultimate Edition - MUSIC Discussion   
    Pieces of four different takes made up the final performance edit used in the actual teaser trailer, and that performance edit was re-created digitally by Armin Steiner in 1991 for the OST album's digital master.  "Prologue" on the new set is Mike re-creating the same performance edit from the 1st gen material.
     
    "Prologue (Extended Version)" is a new performance edit Mike made using just 2 of those 4 takes, with the goal of showcasing two ideas performed on some takes that didn't make it into the final performance edit: the extra viola rendition of Peter Pan's theme, and the extra boom-tzz near the end.  The entire track is 100% a different performance from "Prologue". 
     
    I think the name was chosen because technically adding in the viola passage makes it longer, and also the 2012 release already had a track called "Prologue (Alternate)".  We didn't want people to expect this track to be the same as that (that track was just the final take all on its own with no cuts to other takes).
     
    It isn't known why that viola rendition of Peter Pan's theme was only performed on the final take.  There's no reason to believe there were multiple edits of the footage or anything.
  13. Really Sad
    Delorean90 reacted to Luke Skywalker in HOOK Ultimate Edition - MUSIC Discussion   
    It is also sad beicusses peter pan musical from 2001 never took wings either.
  14. Like
    Delorean90 got a reaction from Once in HOOK Ultimate Edition - MUSIC Discussion   
    My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

    Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

    I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.
  15. Like
    Delorean90 got a reaction from Jay in HOOK Ultimate Edition - MUSIC Discussion   
    My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

    Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

    I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.
  16. Like
    Delorean90 got a reaction from Brando in HOOK Ultimate Edition - MUSIC Discussion   
    My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

    Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

    I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.
  17. Like
    Delorean90 got a reaction from Tydirium in HOOK Ultimate Edition - MUSIC Discussion   
    My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

    Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

    I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.
  18. Like
    Delorean90 got a reaction from BrotherSound in HOOK Ultimate Edition - MUSIC Discussion   
    My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

    Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

    I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.
  19. Like
    Delorean90 got a reaction from Holko in HOOK Ultimate Edition - MUSIC Discussion   
    My package arrived yesterday--just in time, after a long couple of days capping a steady build of exhaustion. On this much-needed day off I began with Disc 3, and it was quite affecting. Hearing "Mothers" particularly was a major shift in context, as others have said, adding a lot of emotion to my listening as its theme plays in the finale. "Low Below--Pirate Sequence" is enormous fun, and all told it makes me wish we had the chance to see the songs more fully developed in the film, even if it didn't become quite the full-blown musical they feared people would expect after the pirate sequence. The "Exit Music" titling even makes way more sense now, I can absolutely imagine it playing after the conclusion of a stage musical version.

    Indeed, having just finished the main program with the background of the songs and lyrics, it had me imagining how they might play out on stage. The terrific liner notes have also, often with simple matters of phrasing and expression, tapped into and reshaped my recollection and impression of the dramatic flow of the film and the score. It's a massive, poignant journey, and while there are elements I wished were more explicitly developed at times, I feel to a greater degree the way small moments in tandem with the music can help to flesh those out in the mind.

    I've always loved Hook, but my appreciation has gone to a new level listening to this marvelous set. I'll probably have more to say on re-listen and once I have listened fully to the bonus sections of Discs 2 and 3, but for now I want to extend my utmost appreciation for John Williams, Leslie Bricusse, Michael Matessino, Jason, John, and all the people who worked so hard to bring this to fruition. Your efforts have brought much joy and warmth, and will continue to do so for years to come.
  20. Love
  21. Surprised
    Delorean90 reacted to Jay in HOOK Ultimate Edition - MUSIC Discussion   
    Imagine a world with no prior expansion, leak, boot, or clean DVD rips...only going from the OST album in 1991 to this 32 years later...
     
    Holy cow what an experience this would be right now.
  22. Like
    Delorean90 reacted to Alex in HOOK Ultimate Edition - MUSIC Discussion   
    Disc 3 explains so much about the score. A fascinating listening.
  23. Like
    Delorean90 reacted to Taikomochi in HOOK Ultimate Edition - MUSIC Discussion   
    The Never Song melody sounds very similar to Follow Me from Always. I wonder if there is any relation - didn’t see any mention in my brief perusal of the liner notes. Maybe John just really liked the melody and thought to use it on something better.
     
    Mothers is goofy as hell, and I kinda love it.
  24. Love
    Delorean90 reacted to Dr. Know in HOOK Ultimate Edition - MUSIC Discussion   
    I have now reached "The Never-Feast (Film Version)" -- I found myself literally holding my breath at the point where that wonderful festive section plays... Ahhhhh, no weird edit from the various amateur attempts to piece this together over the years. What a relief!  And what a glorious cue!
  25. Love
    Delorean90 reacted to Yavar Moradi in Jerry Goldsmith's MACARTHUR (1977) - NEW! 2023 Intrada 2-CD   
    Up for ordering now!
    https://store.intrada.com/s.nl/it.A/id.12900/.f?sc=13&category=-113
     
    CD 1 MacArthur – The Score
    01. MacArthur – Main Title (MacArthur March) (2:08)
    02. The Tunnel [Long Version] (0:36)
    03. MacArthur March [March Indoors] (With Drum Intro) (1:10)
    04. I Shall Return (3:53)
    05. To Australia (0:51)
    06. The Minefield (1:52)
    07. Statistics (1:47)
    08. Surrender (0:54)
    09. Attack Training (0:43)
    10. Casualties (0:51)
    11. Propaganda (2:26)
    12. Change Is Inevitable (1:22)
    13. Stand By [Marcato Trumpets] (1:42)
    14. The Landing (3:26)
    15. The Prison (1:30)
    16. The Reunion (0:50)
    17. Missouri [Extended Version] (0:43)
    18. The Treaty (2:16)
    19. New Era (3:01)
    20. Newsreel – #1 (0:40)
    21. Newsreel – #2 (0:20)
    22. Hard Gained Ground (From Lonely Are The Brave) (2:03)
    23. The Last Gift (1:56)
    24. Ambush (0:55)
    25. Reflections (1:03)
    26. MacArthur March [Newsreel] (1:05)
    27. I Bid You Farewell (2:07)
    28. MacArthur – End Title (MacArthur March) (1:54)
    Score Time: 46:41

    Score Alternates
    29. The Tunnel [Short Version] (0:31)
    30. MacArthur March – Drums (0:10)
    31. MacArthur March [March Indoors] (Without Drum Intro) (1:07)
    32. I Shall Return (Alternate Mix) (3:50)
    33. Stand By [Legato Trumpets] (1:42)
    34. Missouri [Original Version] (0:26)
    Alternates Time: 8:06

    Source Music
    35. Waltzing Matilda (A.B. Paterson/Marie Cowan) (2:04)
    36. Don’t Sit Under The Apple Tree
          (Lew Brown/Charles Tobias/Sam H. Stept) (0:41)
    37. Funeral March (Piano Sonata No. 2, Op. 35)
          (Frederick Chopin) (0:57)
    38. Symphony No. 7 In A Major – Mvt. 2 (Beethoven) (1:32)
    39. Admiral Byrd (Billy May) (0:29)
    40. Undecided – Instrumental (Sid Robin/ Charles Shavers) (1:08)
    41. Orpheus In Hades – Can-Can (J. Offenbach, Arr. Hal Mooney) (0:20)
    42. Mayday In Moscow (From The Front Page) (Billy May) (0:48)
    Source Music Time: 8:27
    CD 1 Total Time: 62:30

    CD 2 Original 1977 Soundtrack Album
    01. MacArthur March (Main Title) (2:48)
    02. I Shall Return (3:56)
    03. The Treaty (2:35)
    04. The Tunnel (2:32)
    05. Statistics (3:03)
    06. Stand By (2:07)
    07. A Last Gift (2:24)
    08. New Era (3:24)
    09. The Landing (3:40)
    10. The Minefield (2:36)
    11. I Bid You Farewell / MacArthur March (4:15)
    CD 2 Total Time: 33:42
     
     
    90+ min Goldsmith Odyssey Soundtrack Spotlight coming in the next few days, with Doug Fake, Jeff Bond, and Chris Malone!
     
    Yavar
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