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Somebody sent me the box pics of this ridiculously over priced set. It's just bloody thin slip cover holding the cds. Talk about being cheap!

I discovered this OST recently and it is a really excellent score. I especially love the track "The Wedding of Officer Torres" (sounds like an extension of the rhythmic material in Catch Me If You Can). I would buy an expansion of The Terminal and Catch Me If You Can instantly. 2001-2005 has slowly become one of my favourite JW periods, and I love hearing all the little connections between the works from this time.

This theme (which I agree with the YT comments, sounds like an adapted version of the 90s animated theme) is dominated by that wonderful driving ostinato, like Robin Hood Prince of Thieves. Starts at 1:42 and appears again at 10:23. But I think it’s great, and it certainly qualifies for a darker style Superman type theme as rumors suggest for Kamen’s early ideas. I don’t have the disc, but I’ve heard the liner notes aren’t too helpful either. This may be a dumb question, because grant you, I only listened to the first disc and skimmed the second, but does this ostinato and theme appear elsewhere in the score? Again, my lack of familiarity may have caused me to miss it.

Could it just have been taken from a sample/stock library like Best Service Orchestral Colours or something?

It's a small thing but I really love the alternate film mix of this cue, and vastly prefer it to the OST mix (with those distractingly prominent plucked strings). There's something cleaner/more focused with the film version and suits Viktor's relief perfectly. I really hope a future expansion includes the film mix, considering how prominently it's featured, and effectively forms the climax of Viktor's story (considering the jazz club scenes are unscored by JW).

It immediately reminded me of a brilliant David Lynch ramble that John Mulaney and Nick Kroll quoted at the Independent Spirit Awards:

I was around 6

It literally consists of six score tracks that are glued together by a lot of thrown in synths, several of which are also taken from previous tracks. I should've been more specific when I said "unique bits," since I'm referring to a particular section of string work around 2:13-2:19 that I can't really point to as being from an existing cue. It really makes my unfinished theory have more of a basis, since some of this material had to come from something that existed at one point in production. And yet there's nothing on the Kamen website that suggests anything was specifically prepped for the credits like the tracked version of Inside the Statue, so I'm not sure what's up there.

They're just a warehousing/fulfillment business. DME likely oursourced to them, which is becoming more common as labels move away from physical media.

Such an exquisite score. Elfman hit peak quality post Batman in the space of several years. I would argue that this is better than either Batman score because it sounds so fresh and inspired. The main theme is hauntingly beautiful and the usage of pan flutes and the gamelan is inspired. And Walker’s cue is awesome on its own terms but works well within the main score. The quality of music is that good where the expanded and 1990 releases work equally well as listening experiences. Mixing and mastering is excellent, compared to the dry mix on Darkman.

What a delightfully insane, yet weirdly down to earth, man.

I was 11 when Fellowship of the Ring was released Anyone turning 11 this year was in utero or not yet conceived when The Hobbit: An Unexpected Journey was released

From what we know, he began writing in the fall and was done with the first movement by the end of the year. Outside of a couple of conducting gigs, it seems like he has not been working on anything else. We are nearing the end of April. I would have to think that it is almost done. I am getting the sense that it will not be premiered this year but next. Ax spends a good deal of time in Tanglewood in the summer. I wonder if Williams doesn't want to tinker with it with him later in the summer and then lock it for a premiere afterwards. Given that most symphonies have their schedules set by summer, I could see this most realistically as a Tanglewood 25 premiere.

It's a snack food cliche but it is true. Even if you're full or limiting yourself, you're gonna at least have a small handful or just refrain entirely. Eating a single potato chip is a red flag!

Okay, so I keep coming back to this score, because the End Credits are so damn cool! And they’re not on the OST, so if you want ‘em, you gotta get the LLL. Fine,but… The End Credits don’t represent the score!!! I keep scanning through the score, wishing and hoping to find the same driving textures and motifs, but they aren’t there. X-Jet has the motif, but it’s buried under synth. I clearly don’t know the history of this like many of you. Is it possible this suite was assembled from an early rejected score that Kamen recorded? Or demos? This is maddeningly frustrating.

I feel the same way about Pringles so I get it. Shoot even the bear in Over The Hedge understood this when he said “you can’t just have one”

David Lynch finally gave a few quotes about taking the role

Okay, I appreciate your input on that. Glad to know it is not a scam or something. Thanks so much

At least other countries have the option of watching the 4K Abyss. Its UK release has been cancelled due to the rat scene… Mark

Oh God, yes, ritardando whenever possible! Schindler's List theme possibilities are endless, to name just one.

I hope you will be too! We are already trying... (@GlastoEls knows) ...wait, Caleb Y.? Who conducted Raiders in Dublin for all three of us and many other excited visitors last Halloween? 😮 Amazing. Thanks for that spot-on performance, Mr. Young, especially the nice additional intermission piece from Skull (didn't know about that) and the end credits rendition - more rousing in tempo and spirit than the original LSO film version, I felt.

You had me at Dwarf and Giant.

I remember being incredibly disappointed by this album when it came out in 1996. Power ballads and pop, far removed from the proggy stuff I had come to know and love from MMEB. But over time, I've come to appreciate it for what it is. Chris Thompson's soaring vocals, Mann's little interludes, big melodies, guitars aplenty. It would be the last "official" MMEB album.

Yeah, that’s legit. Everything I’ve ordered from DME has come from Nowheresville Virginia. Why they don’t have the page for the DoD CD indexed and searchable is beyond me, but people have ordered from that link in the past couple weeks and received the real deal.

He should have axed for more.