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The Five Tones

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  1. 2014. It was an offhand purchase, not a particular fan of the score or composer (great as his reputation is). Was going through a collecting phase with Donna Summer and was revisiting that weird theme song production, I guess, but never listen to it.
  2. Sorry I compressed the photo before uploading - Big Break Records, subsidiary of pop reissue lords Cherry Red Records.
  3. My copy of LLL MR and BBR The Deep (super jewel case) with their booklets and CDs swapped. The booklets are the exact same size, and the CDs are both standard. The inlays in the super jewel case are cut in, so yeah that piece would require slight alteration.
  4. BBR/Cherry Red releases are Red Book standard, couldn't say otherwise. And also can't comment on the inlay but aren't the booklets standard size? I've never noticed a size difference by eye.
  5. Hmmm, that's not really a problem for me. When the cases come broken, I just replace them myself. The main thing is that the CDs themselves are unscathed. Agreed, the CDs are more important, but I do appreciate the specialty labels that use these (Big Break Records, for ex.):
  6. JW Superman motivic source/Easter egg alert*: I just watched the Fleischer Superman cartoons for the first time in adulthood and was like, of course, down to the exact pitches and shared visual imagery. (3:56) (3:22) Also, ass kicking Lois! *assuming it hasn't already been noted somewhere in the last 40 years, which it probably has been.
  7. I've been reflecting again on how Herrmannesque this score really is - which has been discussed by everyone and should be no surprise to anyone - but it's had me going back to scores like Vertigo, North by Northwest, Psycho, Fahrenheit 451 and Marnie (love the recent Stylotone deluxe restoration of that one), to hear the source of the stylistic Easter eggs in MR (and AOTC and COS by proximity).
  8. Double Trouble Longbox Edition (Ships With Free 12" Wand) It's totally there. Anne Lively also feels so ANH gothic just after the voice, with the brooding horns and bass. Almost a jarring callback in a postmodern score. Exactly. I'd generally always prefer the film version over a rerecord which can sometimes lose some of the narrative encoded from the film, and the tension of the scoring session. It's not that it has to be one way or another, but what is most interesting musically... for me, anyway. I always liked the delayed crash cymbal/bass accent in the LP version of "E.T. Alone" ("Abandoned and Pursued") for example, because it worked better as an answer to the peak in the brass melody than playing simultaneously with it. At least JW seemed to think so.
  9. Thanks for your work as always Jay. Related, not surprisingly given both expansions came out this year, I'm hearing the two passages below (1:22 and 0:55) colliding together while I'm running around at work. Something about where he pitches those wandering chromatic unison lines while throwing in asymmetrical accents:
  10. Heads up fellow Canadians (not sure how this is being broadcast for other regions): https://www.cineplex.com/Movie/across-the-stars-annesophie-mutter-john-williams Cineplex Events and C Major Entertainment present Across the Stars for a Limited Engagement Beginning November 30 Acclaimed violinist Anne-Sophie Mutter performs the Oscar Award-winning Music of John Williams in Cineplex Theatres Toronto, ON, (TSX: CGX), October 29, 2019 - Beginning November 30, Cineplex Events and C Major Entertainment present Across the Stars in 28 Cineplex theatres across Canada. The cinematic event features an outstanding program of music from Oscar Award-winner John Williams, performed by acclaimed violinist Anne-Sophie Mutter and the Royal Philharmonic Orchestra in the dream-like scenery of Munich Königsplatz. Anne-Sophie Mutter and John Williams have been close friends for many years, which imbues this project with a truly special meaning. Mutter explains, “Most of the works I perform with the Royal Philharmonic Orchestra in Munich have been especially arranged for me – the pieces are absolutely new in this form and are performed at this concert for the very first time!" The program includes pieces from Star Wars, Harry Potter, Schindler’s List, Harry Potter, E.T., The Witches of Eastwick, Indiana Jones and more. Across the Stars will be screening at select Cineplex theatres for a limited engagement beginning November 30. For participating locations, showtimes and tickets, visit Cineplex.com/Events. Sign up for Cineplex Events' monthly newsletter to receive previews to upcoming Events Cinema programming, exclusive interviews, contests and more.
  11. Btw, the mix of A New Beginning in "Minority Report" (the original source material of the cue?) *does* sound better, at least to my ears... I should probably take a break from hearing it, though. Also, the liner notes state: "'On the Run' begins with a tense, slithering line for strings and vibraphone." It's clearly marimba that is audible, which was an instrumental colour JW used again that year in Zam the Assassin and of course the opening of CMIYC. Vibes may have been played/recorded, perhaps with soft mallets, but if so they are covered and not identifiable as being present.
  12. I did a couple more A-B comparisons of the 2002 and 2019 versions of "A New Beginning" - I'm not an audiophile, just iMac audio w good Sennheiser phones alternating w a Denon sound system. I'm walking back my earlier comment above; what I thought was degradation is more likely instrument noise or vibrato interference, maybe too much gain on the strings, that is equally present in both versions. So, the 2019 doesn't appear to me to be an attempt at improvement and that might be by intention/requirement, but it's no worse than 2002. I'm sure it sounds better in 24/192 if it was scanned that way, but I'm not likely to hear that any time soon. Fwiw, it's a glorious cue and I've always adored that string tutti, so JW.
  13. It sounds to my ears like that, but maybe Jay can confirm from MM? His technical note gives that impression (based on similar situations in other expansions). Maybe there's a reason, or it actually was remixed from the 16-track multis and that's as good as it gets with the aged analog tape. I'm really glad the restoration of "Sean's Theme" turned out so well, on the other hand, as it's still my favourite cue/piece. It sounds fully restored from the multis and like brand new. My collection is all over the place. Most of my JW (OSTs and/or expansions) is in a 53L (14 US gallon) Rubbermaid Roughneck. I've been on the move most of my life and most of overall collection stays in a bunch of those. I keep some on Ikea shelves near my computer (the pic), some near the stereo in our living room. Whatever I've wanted to play for my wife, kids, guests and/or haven't imported yet. Boxsets and vinyl on a bookshelf in my bedroom. My dream is to settle in one home with custom shelves for the whole collection, all formats, in one room. One day!
  14. Arrived today, just settling in for a late first listen. Early impressions: sound is way more tangible, meatier with real dynamic range and instrument definition (winds!) The "gauze" is off, allusion intended. Synthetic elements are present but feel more blended in overall and organic. Really looking forward to getting to know this score properly. I suspect I've underrated it up until now; among other things it's a rhythmic structure masterpiece and shows how much JW was paying attention to contemporary music and able to grow his technique (at 70). And while in some of his later films the underscore can feel a bit throwaway, some of the most subtle, compelling and suspenseful moments here are in those dark (but now properly illuminated) layers. The restored OST edit of "A New Beginning" doesn't sound great by comparison; I can hear a bit of degradation there and it's obviously not a remix, so I'll probably hold onto the full audio rip of that track from the 2002 CD (along with the "Anderton's Great Escape" edit and other bits). Kind of odd to imagine having issues with tape only from 2002, even analog, but then again we are fortunate the score sessions were all captured that way and this has turned out so very well otherwise. Q: Did the singer (Deborah Dietrich) go for it a little more on the OST, possibly in retakes or alternate takes? Or does her voice just seem darker with less, or less obvious, DSP?
  15. It isn't. It's just bland and undifferentiated and little oppressive like U2 factory shipped on your iPhone. i.e. not special and a bit annoying. I showed the trailer to my three kids for the first time today and everyone loved it, and no one spoke of or cared about the score. Life moved on.
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