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Your favorite John Williams score of the 1960s? CONCLUDED


indy4

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I have to admit that I've never fully listened to a Williams score from the 60s. I've only listened to parts of Penelope, but I don't remember anything about the score. This poll is harder than the others because I haven't heard of any of these!

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There's not much I can get excited about in any of these, even from a purely technical standpoint. He was still finding his way, somewhat. None But The Brave is probably the most listenable for me.

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The Reivers, though the suite on the Music for the Stage and Screen cd really brings the score the fruition, even if it contains music that was written years later and is not technically part of the score

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Now we're talking! This decade (and the 50's, for the matter) are far more interesting to me than the over-exposed later decades (which have some fantastic music, but that have been talked to death over the years). THIS is where it's happening, man!

I think ultimately I would have to go for THE REIVERS. Predictable, maybe, but there you go.

Some great tracks in the other scores as well, though.

Personally, I think you should include the unreleased scores as well, since there are some who have heard them too (and not only yours truly).

So bring on I PASSED FOR WHITE, BECAUSE THEY'RE YOUNG, GIDGET GOES TO ROME, NIGHTMARE IN CHICAGO, THE KILLERS (this has an isolated score track), THE RARE BREED (this has a great suite out), THE PLAINSMAN, SERGEANT RYKER, DADDY'S GONE A-HUNTING and GOODBYE MR. CHIPS (there's plenty of Williams score here),

Williams fans who aren't interested in the early stuff aren't proper Williams fans!

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Same. It's the only one I know. And it also happens to be quite pretty. The Miracle cue alone would be enough to merit a vote.

Karol - who still finds it funny how the main theme resembles Poltergeist theme (or the other way around)

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I also want to give a shout-out to albums like PENELOPE and NOT WITH MY WIFE YOU DON'T -- extremely entertaining albums (even more so than their score-in-film counterparts). So much energy and inventiveness and sheer playfulness going on in these, and others, of the 60s.

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Same. It's the only one I know. And it also happens to be quite pretty. The Miracle cue alone would be enough to merit a vote.

Certainly. There's much I like about it, but The Miracle is first rate.

Reivers is great as well of course. And many of these scores are enjoyable and have worthy highlights (I love The Globetrotters, for example), though few have really grabbed my interest in full.

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I haven't heard half of this list.

But the Reivers and Heidi are my favourite of the bunch. The latter wins by a bit, and always brings the Poltergeist theme to mind.

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The Reivers

with honorable mentions going to Heidi, None But the Brave and Fitzwilly and How to Steal a Million.

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The Reivers, though the suite on the Music for the Stage and Screen cd really brings the score the fruition, even if it contains music that was written years later and is not technically part of the score

Which music was "written years later"?

Ps "Heidi".

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The Reivers, though the suite on the Music for the Stage and Screen cd really brings the score the fruition, even if it contains music that was written years later and is not technically part of the score

Which music was "written years later"?

Ps "Heidi".

The scherzo-like piece for the horse race. On the suite it starts at the 14:35 mark

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I've only seen the film once, long ago, but I think that passage was unscored in the film, right?

Yeah so I understand although I have not seen the film myself. But it is certainly not unheard of that the Maestro makes such expansions and additions to his suites from time to time. In fact that is one of the things why I love his approach to the concertized versions of his works. He almost always finds a way to make them more than just mere recreations of the film counterparts and expands upon the initial ideas of the score.

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THE REIVERS and i have a soft spot for DADDY'S GONE-A-HUNTING.

How is the Daddy's Gone A-Hunting?

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I've only seen the film once, long ago, but I think that passage was unscored in the film, right?

I think so, yes. But it's quite curious how 20 or so years later he writes such an awesome passage to include in his suite for the score. Can it be considered part of it?

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I've only seen the film once, long ago, but I think that passage was unscored in the film, right?

I think so, yes. But it's quite curious how 20 or so years later he writes such an awesome passage to include in his suite for the score. Can it be considered part of it?

When was the suite originally created? Surely not in 1990's?

EDIT: The Music for Stage and Screen liner notes state that he premiered it in 1980 on his opening night as the conductor of the Boston Pops.

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EDIT: The Music for Stage and Screen liner notes state that he premiered it in 1980 on his opening night as the conductor of the Boston Pops.

JW was already a revisionist when Lucas was still working on turning a single film into his Original Trilogy!

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So...is the "horse race" music new music, or was it written for, but not used in, the film?

Has anyone else seen/heard JW conduct the suite?

I'm sure Miguel can answer that one

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THE REIVERS and i have a soft spot for DADDY'S GONE-A-HUNTING.

How is the Daddy's Gone A-Hunting?

It's more in the groovy vein of EARTHQUAKE (also a Mark Robson film), but the jazzy chords betray its composer fairly easily.

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