jwalk713

It's kind of amazing. I'm going to go through the entire film this weekend and write it up. The takes used in the original version of the film (and on the soundtrack release) are superior, but it is a fascinating treat to hear some of these cues. Additionally, the London cues that ARE used, are mixed VERY differently. The main title really sticks out, with a few lovely flourishes and a few tragic twangs. My suspicion is that they used the Germany cues for as much as they could, and filled in the gaps with the London bits. I'd love to hear other people's thoughts on this!

This is fascinating to learn. Can you confirm-- did the RSNO John Debney Recording from '98 utilize this version? Because, in that recording, the music preceding Superman's descent to the street is almost identical to the moment in 'II,' right before Clark uses his heat vision.

Are the William Loose arrangements available anywhere? They're quite lovely!

I think 'Mystery Men' did it better than any of them.

The release is glorious as is; but that you folks would go the extra mile and make this adjustment is just amazing. Thank you for all the hard work you do!

Not not in the case of 'Marriage Plans/Robin's Alive.' this was, in fact, a separate and original composition. Granted, more than half of this cue is generic Sheriff villain music, with a few little sprinkles of Robin's motif. But the last minute or so is a glorious reprise of the sombre theme that plays at the end of 'Village Destruction #2,' and then a full orchestra statement of Robin's Theme. It's brief, but magnificent. In addition to the source music that I mentioned earlier, there is a four or five second overlay (Heroic Robin ALT), that is inserted in the film, when Robin crashes through the window to duel with the sheriff. Sadly, this was not recovered for this release. I do expect the remnants to appear one day; after all, 'Celt Battle Part 3' was an orchestration by composer Mark Watters, the recording of which has been in his possession for nearly 30 years, until Intrada connected with him and obtained it for this release. I suspect that the missing music may be sitting on other people's shelves, much in the same manner. The Kamen Estate conducted a very lengthy search, in Los Angeles, New York, and London, to find the music that IS vailable on this release. But this production had such strange variables and occurrences that seem to have scattered source recordings across the globe, it's a bit of a wonder that this much of it has been found. If and when the remaining elements are discovered, I think it could be beneficial to consider a digital release that features the remaining music, rather than another full-on CD release. But I only think that because, I feel that they have gone above and beyond with this, and there are indeed many other scores that deserve the same kind of attention. 😊

I've received it, good fellow. Now, I'm clearly biased with this one, because it is my favorite work of Mr. Kamen. But truly, this release is quite amazing. There isn't a HUGE difference in overall sound quality from the previous release, but it is definitely a rounder, fuller sound. There are quite a few pieces in which little details are more apparent. ie, all of the Music for the Merry Men, in which the dulcimer and Renaissance roots are very crisp. The treat here is having completed sequences that have been missing over the years. The new music really elevates the program, and illuminates the compositional through-line of the story. The End Credits piece is so tender and lovely, and it actually answers an editorial question I've had for years: the end/edit of 'Maid Marian' on the OST; That piece seques into a few- second, fading section of the End Title music. So, we actually HAVE heard a miniscule bit of it before. If you enjoy this score, then you'll really appreciate this edition. As has been mentioned before, there are still a few source cues that didn't turn up-- 'Wild Times,' as played and sung in the style of the other Medieval Dance cues; 'Kyrie Eleison,' for the Mass. For me, the true loss is 'Marriage Plans/Robin's Alive.' (I've expressed that ad nauseum 🤣🤣)But, that is certainly not a deal-breaker, by a long shot. This is the definitive presentation of 'Robin Hood,' and well worth the buy!

Didn't you say that already? 😄 Or something similar?

Yeah, man. They conducted a most thorough search in london, Los angeles, and other places, and we're unable to locate a few things. Wasn't from a lack of trying, though.

This is a dream come true. 😊 This score is truly magnificent, and to have completed sequences available now will quite elevate the listening experience. As always, I greatly appreciate Intrada going back and re-working/re-issuing these projects when they discover new elements. T'is a labor of love! Huzzah!

End titles** damned speak to text 🤣

My thoughts on the matter are as follows... being that it is that way on the rhino set, as well as the main and entitles in the film, I have long suspected that it was intentionally recorded this way. Additionally, listen to the isolated audio on the Blu-ray track-- it sounds to me as though the sustained trumpet fades out more quickly, allowing one to hear a split-second of a violin trill lingering, before the chord resolves. But, it ALSO sounds to me as if the LLL set has tried to remedy this, by somehow allowing the trumpet tone to linger a split-second longer, but without altering this strange rhythmic change.

I've waited my whole life for this one, man. This is my favorite JW score, and I'm hearing instruments for the first time. It's been on constant replay since I got it. Glad you're enjoying it too!!!

Great review, sir. This movie holds holds a special place in my heart, because it was the 'Jaws' film that I saw the most frequently, until we FINALLY bought a copy of the first film. I really enjoy the music, which gives the film a leg to stand on. There are a few legitimately effective sequences in the movie, which the music elevates, of course. I think Sean's death is scene is actually terrifying, largely because of his acting and the fact that you don't see much of the shark. lol you literally see its JAWS!! There are some effective 'death chords' in the brass before the shark theme comes on hot and heavy, and it sets the movie up for a level of terror that wouldn't be matched again. There are some fabulous orchestrations here and there, and it's got a high nostalgia factor for me. Thanks for the write-up!

:: sigh :: So I guess we just have to suffer one more nail in the damned coffin before we get the jewels of the kingdom? All right. I'll take that bullet.