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Jay

The John Williams Jurassic Park Collection from La-La Land MUSIC Discussion

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Hey, ya'll!

People are starting to get their sets now so I figured I'd start a new thread where we can actually discuss the music of the set - as well as the liner notes, art direction, etc.

 

The first thread is full of order status and shipping talk - which is fine! and should continue there - but once you get the set and want to talk about the actual contents, come over here!

 

So far, here is the only posts about the actual set I've seen:

 

18 hours ago, Lockdown said:

The sound is great!

 

 

5 hours ago, Selina Kyle said:

I've only listened to TLW on my commutes. I'll say this. You guys won't be disappointed. I still won't have a chance to listen to it properly on my hi-fi until possibly Sunday, though there's a lot of work that needs to be done around the house so I'm still not sure. "Ripples" got a lot of replays. Anyway, gotta go.

 

Let's hear some some!!

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4 minutes ago, Jay said:

People are starting to get their sets now so I figured I'd start a new thread where we can actually discuss the music of the set - as well as the liner notes, art direction, etc.

 

Really?

 

:P

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I am continually blown away by the incredible sound quality!!!  I wish all film scores were recorded this well!

 

So nice to finally have the clean ending to Incident at Isla Nublar

 

It's really nice that the full endings of The Entrance of Mr. Hammond and The Coming Storm are allowed to ring out (each crossfaded to another cue on the 20th set)

 

I love that final hit in Race to the Dock!!

 

The clean opening to The Falling Car is interesting.  I can see why Williams wanted to obscure on the OST by having another cue segue into it.  I wonder if originally sketched out was a cue, that never got recorded, that would have lead into this.  Cause this cue doesn't really start the way any Williams cue I've heard before does.

 

I don't really know why The T Rex Chase was joined into this in the same track.  I'll be separating it for sure after listening to it this way twice.

 

 

Oooh.  I really like the gentle opening to My Friend The Brachiosaurus that we didn't have on the OST.  I might not join this into Remembering Petticoat Lane after all, this is quite a nice opening.

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I would have always rated The Lost World as a four star score, but having listened to the full LLL release in chronological order, I think it has been promoted to 5 stars. The unreleased cues add so much to admire in terms of instrumentation use, tension building, and utilization of both new and old themes in really cool and interesting ways.

 

Couldn't be happier with this release. One of the best JW releases from a specialty label.

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Totally agreed with all your points.

 

The Lost World is such a long, detailed, and complex score, adding another 45 minutes to the 70 we already have seriously makes a dramatic difference.  This score features some of his most interesting orchestrations!  And the development of the Island's Voice theme isn't really captured properly by the OST program.

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Yes, I do, actually!

I kinda sorta mentioned that above, but you  have laid it out more elegantly.

 

The Hunt is a big action highlight, but not its not quite the same thing as it doesn't really involve our heroes.  But then the action in Horning In and Up In A Basket / In The Trailer, do in fact have a bit of a "holding back" feel to them until everything explodes in Pain of Glass & Truck Stop.  Phenomenal.

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Those rapid-fire trumpets at 2:55 also. My God!!

 

Another cool point regarding the score in chronological order. The main theme in both 'To The Island' and at the end of 'Heading North' now basically bookends the time spent on the island, as opposed to on the OST when both cues were combined into a single track. 'Heading North' marks the arrival in San Diego.

 

Regarding Ludlows's End, it was always very clumsily tacked onto the beginning of Ripples on the OST. That initial shriek from the piccolo was always very jarring after the low rumbles in Ripples.

 

Definitely agree that the final thud at the end of Visitor in San Diego should be immediately followed by that piccolo at the start of Ludlow's End because there is absolutely no build up to that latter track - it already starts with all guns blazing so you feel like you're already in the middle of an action track rather than at the start of one, which is effectively the case in the film.   

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I haven't listened to both in detail yet but I opened both in an audio editing program and the waveform for both tracks are almost identical with only very minor variations. Track 7 has a extra moment of silence at the end which accounts for the difference in track length.

 

Perhaps they are different takes, but to me they seem 99% identical.

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1 hour ago, Luke Skywalker said:

what is the difference between the two 'welcome to jurassic park' versions?

 

Extremely minor performance differences and edit points. 

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I'll begin my edit with The Lost World concert version. I'm definitely using the film version of 'Tranquilizer Dart and End Credits'. I'm so accustomed to hearing the island fanfare at that moment and I don't like the darker version with the synth voices. I'll end my edit by following the credits with The Lost World (Alternate) and its badass opening.

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7 minutes ago, crumbs said:

Oh my lawd this all sounds sooooo amazing. Sounds like The Lost World complete was rightfully atop my Holy Grail wishlist, given the comments here!

 

The second half of 'High Bar and Ceiling Tiles' is the biggest surprise for me. The action writing is extraordinary. Can't believe it's been sitting there for 19 years waiting to be heard.

 

But all the unreleased cues from TLW are packed with cool moments and gems. 

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Oooh, good thing I happened to scroll up, none of this was here before!

 

 

4 hours ago, dfenton85 said:

Another cool point regarding the score in chronological order. The main theme in both 'To The Island' and at the end of 'Heading North' now basically bookends the time spent on the island, as opposed to on the OST when both cues were combined into a single track. 'Heading North' marks the arrival in San Diego.

 

Yes, FANTASTIC freaking point!  I was just telling someone in the Last Score You Listened To thread that Williams actually only used the TLW theme in 3 film cues, and since he combined 2 of those together on the OST, that means the theme only appears on the OST in tracks 1,3, and 14, which is kinda nuts when you think about it.  I think it shows a lot about the memorability of Williams' melodies, and his album programming strengths, that a lot of people probably didn't realize that.  Anyways, I LOVE "Heading North" appearing where it does now, that theme appearing there, and the entire tone and feel of that track is perfect for that point in the film and score's story.  Wonderful stuff.

 

4 hours ago, dfenton85 said:

Regarding Ludlows's End, it was always very clumsily tacked onto the beginning of Ripples on the OST. That initial shriek from the piccolo was always very jarring after the low rumbles in Ripples.

 

I agree.  In fact, I think the only way to make Williams' OST better would be to take that track and move the Ludlow's End to the end of Visitor In San Diego making that one long track, and including ALL of Rialto Ripples in its own track instead.  I'd even lose The Compys Dine track in order to make room for it.  There's a hugely improved OST right there, especially because it's just WRONG to have the Ludlow's End music music play BEFORE Visitor In San Diego, especially at the end when it references that track.

 

4 hours ago, dfenton85 said:

Definitely agree that the final thud at the end of Visitor in San Diego should be immediately followed by that piccolo at the start of Ludlow's End because there is absolutely no build up to that latter track - it already starts with all guns blazing so you feel like you're already in the middle of an action track rather than at the start of one, which is effectively the case in the film.   

 

Yes yes, a thousand times yes!  Astute again!

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1 hour ago, Fennel Ka said:

Do we know what scene "The Saboteur" was meant to score?

 

On 11/25/2016 at 9:11 AM, crumbs said:

I wonder if it scored the quick scene with Nedry in the control room, surveying the embryonics surveillance cameras on his computer while Muldoon complains about locking mechanisms on the cars. The scene is only 25 seconds in the final film but maybe the cue overlapped with the next scene (Grant walks down the hill to the Triceratops paddock)?

 

There's really no other gap in the film for a 50 second cue, barring Malcolm's water droplet test on Sattler.

 

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There really is.  Possibly more so than I can think of when getting a new expanded score from Williams.  Sure Hook and AI had more unreleased music, but we already had that music thanks to boots and promos, etc.

 

And with TLW, the extra music seems to REALLY improve the listening experience more so than a  lot of other expanded scores.

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17 minutes ago, crumbs said:

Can anyone confirm if the cue that accompanies Kelly crying in the rescue helicopter is on the set? Presumably it's the end of High Bar and Ceiling Tiles?

 

The release is complete.  There's nothing missing.  Of course what you're asking about is there (I haven't seen the film in a while so don't remember if the specific part you're talking about is at the end of High Bar and Ceiling Tiles, or the beginning of Heading North - or something tracked in from somewhere else)

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YES!  The Stegosaurus is fixed!  On the OST, as the first cue in the track was ending, the second cue came in early, cutting off the end of the first cue, and to boot, the second cue had its beginning cut off or faded in in a weird way.  It was a bad album edit (like something from the analog days).  On the new set, the first cue is allowed to ring all the way out, before the second cue starts cleanly.  It sounds GREAT!  Just compare 2:11 on the OST vs 2:15 on the new set.  What a huge difference!

ALSO! Visitor In San Diego is also fixed!  On the OST, the ending of the first cue inside the track was quickly cut off to jump right into the second cue at 3:23.  On the new set, the first cue is allowed to completely finish before the second cue starts at 3:26.  Sounds perfect!!

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This is the only John Williams release from La-La Land in a while I've really been amped for, and it's mainly for The Lost World. Confession time. It's the only one I've cared about since Hook, which was a very flawed release. I really didn't give a shit about Empire of the Sun, A.I., Home Alone and Home Alone 2 and The Fury and Jane Eyre again, Rosewood, Amistad, the Kobe Bryant movie or whatever the fuck else they've done. Who cares? Not this guy. We don't want that. We want The Lost World, Harry Potter, the Star Wars Prequels, the E.T. Adventure and, of course, the Indiana Jones Trilogy.

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Amazing how much the new music seems to improve a score I have loved for so long anyway. I don't think thats happened since Star Trek V's complete score release.

4 minutes ago, Selina Kyle said:

This is the only John Williams release from La-La Land in a while I've really been amped for, and it's mainly for The Lost World.

 

I'm sure thats the case for most of us, since we did get an expanded JP a few years ago, so we arent getting much in the wat of new music. Just a superior presentation.

 

I assume thats why they decided to release the 2 scores in one release.

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Yea, I know what you mean.  I dunno if I've felt as big of an improvement from OST to more since getting the boots for ID4 and Hook and the DVD isolated score for Tomorrow Never Dies in the 90s; Those were about equal in "complete score improving hugely on the listening experience the OST had" for me.

 

If we're talking just legit OST to legit expansion when there was no boot / leak / iso score in between, this might just be the best ever.

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I like how TLW allows you to remove the sped-up version of the JP theme from the finale (just as Spielberg himself did), the weakest part of the entire score. It didn't dawn on me until I listened after the alternate TLW theme from the end credits that this set had the finale as presented in the film. No need for Williams' original intended version anymore. Buh-bye!

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Yeah I'll be combining the 2 last tracks and ditching the end credits. Like like how I recreated the films end credits for my personal edit 17 years ago.

 

Might include the unused snippet before the JP thene comes in though

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It certainly is a strange little change in tone at the end of the Tranquilizer Dart. Those ghostly synth voices and that elegiac tone.

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I tried doing a segue of that last note into the start of Jurassic Park Theme; It actually kinda worked (the high strings fade out before the second phrase). Not sure if it's anything Williams intended or not, but it kinda worked.

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Jason, great thread! More focussed discussion here. Of course I envy everyone who gets the set before I get mine. Glad to know the flow of the albums is great. While I did listen to the new unreleased music from JP on the Anniversary digital release and also noticed how well that album was mastered but I didn't play the whole album as a single listen at that time because I felt that the flow didn't work so well, With this set I'm sure its going to be great listen all the way through and recall the flow of the film.

 

How does the cue  'The Falling Car and The T-Rex Chase ' flow now that they match the film sequence. Was the silence edited for the start of the T-rex Chase before the brass drops a tone to indicate the start of the chase after afterIam says  Ím fairly alarmed'?

 

Also how are the liner notes and I hope Mattessino goes into great detail. 

 

Now I'am avoiding going back to watch either of the movies so I can experience both the score afresh when they arrive!

 

 

 

 

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25 minutes ago, Jay said:

I just realized what the start of Horning In (3:39 of the track) reminds me of: Attack of The Clones' percussive action music!  Neat!

Yeah that underlying steady rhythm reminds me of Yoda VS Dooku percussion material.

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