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tranders65

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About tranders65

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  1. Yeah, not sure I got the Justice League "hidden" reference either - heck, the "Friends and Foes" cue from that soundtrack literally starts with the Superman fanfare and then it plays again in there at least one more time.
  2. King Mark, there's just a hint of Williams' music right at the very end as a certain superhero shows up with Shazam at the school lunch. I'm kind of surprised no one has mentioned it on here yet, unless I just missed it somewhere. :)
  3. Uh...what the heck?!? Just saw this on the Entertainment Weekly site!! https://ew.com/movies/2018/11/17/john-williams-new-music-disney-star-wars-theme-parks/
  4. Not at home where I can show more pix right now, Amer, but yes, the slipcase is a thicker cardboard. The main CD booklet is just made up of stills from the movie/promotional pix and John Badham’s original LP liner notes. The Nocturne additional booklet (which isn’t bound, just stapled per usual CD inserts) is the more extensive liner notes that get into the history of the movie and character, Williams’ score, and how the CD came to be.
  5. Plus, knowing Williams doesn't even generally watch movies and given Carrie's release date of late 1976 and that JW had probably already started composing themes, etc. in anticipation of the March '77 London recording dates, I couldn't possibly see it being a factor at all.
  6. Just ran home from work to grab something and the CD was there- won't get to give it a listen until later tonight, but the bad news is: no flip side Pete 'n' Tillie artwork. 😣
  7. Gee, I don't know Thor - as much as I'd love to hear both of those, GIDGET is such a JOHN GOLDFARB-like "wacky" score that it would be whiplash-inducing listening to STORIA DI UNA DONNA after it.
  8. I've got all four - both "Poseidon Adventures" (FSM and LLL) and the other two. Gotta say (and it may be more because I've always enjoyed "Poseidon" over "Inferno") that I'm one of the few weirdos who enjoys the "Poseidon" score more than "Towering Inferno". Love the main theme (although it's also hard to beat the main title for "Towering Inferno") and even the creeping around suspense music more than any of the other TI cues.
  9. Considering I've had the original Star Wars since it came out in 1977, I'm gonna assume it's that one since I've been listening to it on and off for almost 40 years.
  10. Okay, I totally may have missed someone already pointing this out, but just noticed during the End Credits a small bit that comes straight out of that first teaser from last year (the section right after Finn shows up on screen and on) - it's just a few seconds, but it starts at about 4:57-5:06. Looks like it's developed into what I'm assuming we're saying is Finn's motif (don't see the movie until tonight so I'm going on what everyone else is saying on that one!).
  11. ANH was before Williams truly found his footing, and TFA was after Williams truly lost it. I think ANH is one of the top of the Star Wars soundtracks, it has a more symphonic feel to me. Prequel trilogies are forgettable to me and the music came off to me as overproduced especially the action pieces.I sort of feel you on this. The greatest thing about Williams's output in film is that it doesn't seem like film music; it's allowed to breathe and take its time and develop. That isn't to say other composers didn't (Goldsmith, Herrmann, Rozsa especially) but the nature of film often abuses music and chips away at it and really doesn't do it justice (see: How Ridley Scott treated Jerry's music on Alien). But somehow Johnny's seems to thrive and sound more like concert work that just happens to work in a film instead of the other way around. Something about his approach changed around the first Harry Potter or The Patriot where he stopped writing so "broadly" and started writing "to the edits", which I imagine is why we have over two dozen short cues on this new album, which, though will certainly have IMMENSE quality to them, will lack that wide sweep of "scenery meets music" that even the prequels had. The days of a Star Wars film having a cue like "Binary Sunset" are over, I'm afraid. But most of the cues in the original Star Wars aren't particularly long, either, at least split from the LP suites that were originally presented in '77. The Main Title/Blockade Runner cue is only 2:14, The Moisture Farm is only 2:25, split into the two cues it actually represents, The Hologram is only 1:53 and Binary Sunset is only about 2:15, etc. etc. It's really only on his LP presentations where he joins so many cues together that he's had longer cues (obviously not every case - Imperial Attack is 6:42, etc.), but point is, his cue length has always varied and depended on the scene.
  12. Are you kidding me? That's a SUPERB album -- by far the best of the similarly-styled albums he did in the 60s -- even if the film is pants. Easily in the Top 3 within the timeframe given here. Oh, I think so too, Thor - just surprised that there are any others besides me who think that! Although I never really cared for it much aside from the main title motif until FSM released the actual score - that's when it moved into my top 5 at least of his 60's output.
  13. Well, I see there's at least two more people who aren't embarrassed to put "Not With My Wife, You Don't" on a top 10 list. Here's mine in random order: Towering Inferno The Reivers The Cowboys Not With My Wife, You Don't Images Jane Eyre None But The Brave Fitzwilly Poseidon Adventure Lost in Space
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