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Yes, in-store you can inspect it and know that what you're getting is legit. Online purchases add that extra level of paranoia about prices and the handling of the product, and if it's a counterfeit item. Plus I think in-store purchases help the store and the keeps the demand to even have a "Soundtracks" section alive.

I wonder if SS got the JP/TLW set and it was missing the teeth! *opens package* "Oh boy, another soundtrack set, looks good, looks good...wait...wait a minute...somethings not right here...something's missing! * looks at booklet* "They forgot to mention my involvement in the making of this soundtrack!" *chucks set in bin filled with rejected expanded releases like CEOTTK and The Terminal...*

I am not ashamed to say that I have always liked it too.

One of the more recent and quite fascinating discoveries. A distant cousin to Strauss's Eine Alpensinfonie or to Liszt's Ce qu'on entend sur la montagne.

This guy looks like such a movie, Star Wars, and film music fan. No way he's not respecting JW!!

I hold out hope The Last Jedi will be significantly more interesting than TFA and R1. We'll see.

Tell that to Samantha Gailey!

Does Window to the Past even appear in the film? Both PoA and The Terminal are, in different ways, examples of poor musical storytelling. Taken standalone, they're fine, but they collapse as soon as you relate them to the film.

Yes, clearly that's his intention but on his longer scores it's a total waste of disc space. Prisoner of Azkaban is brimming with unreleased versions of Window to the Past and Double Trouble (the film's two primary new themes), yet the OST has 8 minutes of recycled excerpts from earlier tracks rather than any development of either new theme. It's pretty poor musical storytelling, which is the point of Williams' album assemblies, is it not? There was zero benefit to be had by recycling random snippets of unrelated, isolated cues with no bearing on the overall musical story being told in Williams' complete score.

It seems like the total antithesis to Williams' approach to thematic development when writing a score proper. He's very careful to develop themes gradually as the score moves along, rather than being too overt at the beginning. Yet on his soundtracks he regularly sticks his concert suites, the fully fleshed out rendition of his main theme, as track 1! An approach like Rey's Theme in TFA's OST makes much more sense (barring the bizarre placement of her concert suite), as it develops across the album in mostly chronological order and its most developed, mature appearance is in the end credits. This seems to be a new approach from Williams, hopefully it carries through on TLJ.

Not really an urge, I'm just trying to understand your viewpoint.

Well, they are. One is part of my film interest, the other is part of my music interest. Why do you feel this urge to somehow prove my preference is incorrect? What does it matter to you anyway?

Two completely different interests... which both concern the same music. Right.

Richard Penna is right. In terms of soundtrack listening, the film has no relevance to me. I approach soundtracks as concept albums. But I'm obviously very interested in film music as part of my film interest (heck, I wrote my master thesis on it). To me, these are two completely different interests and activities.

Hmm. Thanks for that. Although I would never denigrate your decision to listen to OSTs exclusively, I will suggest that you perhaps miss the point of complete scores. They are not wasteful. Far from it. The OST is meant not only to represent the music heard in the film, it, somehow, encapsulates the mood - the intent - of the film. The complete score, on the other hand, is so that fans can understand what the composer is trying to say, and to understand it with greater clarity. Several scores that I own, have been enhanced by my buying compete scores, which give me richer insight into the composer's compositional process, and allow me to listen to the musical story - the journey, if you will - as it was meant to be heard. For me, that's a rare privilege.

Yet if the album spills onto more than one CD (or violates an arbitrary limit that even you're not sure of), then your implication is that no thought whatsoever has gone into the album experience. That's what I call a narrow view.

It's called a preference. And I'd call it a wider and more dynamic one than those who MUST have all of the music, exactly as it is in the movie.

Such a narrow, limited view!

Yes, my view has changed a bit in the last 17 years. Back then, I was open to more music (at least important music) being included on a release, but now I don't really care about "missing" stuff, regardless of quality. All that matters is how the album holds up for what it is.

For anyone who might be interested: Adywan's Empire Revisited will finally be released today at 6PM GMT after 9 years of work!

We have two Tower Records in Dublin and they're both pretty good. They have the vast majority of new soundtrack releases and they keep a good stock of the "classics". Vinyl section is also very impressive. Golden Discs and Tesco are good for latest releases and, in the case of the former, vinyl but they both be terrible for soundtracks. With Apple Music I'm ok waiting to check the shops before buying something online. Obviously for LaLaLand its online.

Thanks for sharing, Bes. I guess it's difficult to explain, sometimes, how, or why, one likes something. I first saw THE TOWERING INFERNO in 1975, and I somehow "connected" with the music in a way that made me want to hear it, over, and over again. It spoke to me. It moved me. It made sense.

A weird film too!!! I discovered Charles Aznavour in 1995, when I was 21... it may correspond to a first break-up at the time... I saw him in concert in Montréal the same year and after that, I had to find ALL of him, everything. I simply love what he's doing and HOW he do it: by letting flow his emotions, by open doors that are locked, in the teeth of everything (and the critic). I'm particularly touched by the theatricality of his interpretation, which certainly came from his armenian roots. On the stage Aznavour dance, love, laught, cry, he act play and gets angry. Aznavour is in motion.

I prefer to pick them up in shops if I can. Used to use Amazon quite a bit but with exchange rates against the sterling and the fact you can't get free delivery through prime in Ireland I've stopped. You can usually find a better deal on eBay anyway if you're stuck.

I'm aware of its somewhat notorious reputation, but personally, I've always liked it. Especially early action cues (The Adventures of Mutt, The Journey to Akator, A Whirl Through Academe) are a joy to listen to. It's an Indy and a JW score after all!

What's the likelihood of Lucas making another movie, let alone hiring Dunkaccino?

AotC had the sexiest Padmé.

Revenge of the Sith is the best episode.

I just watch TPM now. It was the only good one they ever made anyway.

Increasingly dissonant and disjointed after each drink. enjoy the concert to those who are going.

A wonderfully inventive work from one of my favorite composers.

Each concert will contain ten variations of "A Toast!"

I agree! have watched their raiders and star wars episodes and the musical analysis is on point. its nice to see them take a look at the different implementations of themes as well as the action music and other fun parts of the scores. also great to hear some fellow aussies breaking out into the musical podcast scene.

Is that bad? I love the music for both of those. I'm ready for Star Wars music to be playful again.

Oh god I just realized the Porgs are gonna get an Ewok/Jawa-esque motif.

Confirmed with the CSO folks that the concerts while titled differently on the website will all be the same concert. At least if all goes to plan. Their words: "Mr. Williams hasn’t quite decided what it will be yet, however we can confirm that all dates of the concert will feature the same program."

Editing Star Wars: The Last Jediii, You, your team and your Johnson.

Apparently according to Lucasfilm's Facebook Johnson team is working on burying the music under the sound FX.

So, so much has changed since those 90s expansions and even that 2008 Indy box set. Since then MM has crafted this relationship of trust between him, JW, SS, and KK. JW certainly trusts MM now that he will present his music in the best possible way,and MM has found a way to create album programs that both please the fans and JW's musical sensibilities, with JW giving him leniency when something may not be exactly what he wanted but he trusts that MM has the right idea in mind (for example, JW wanting him to keep The Falling Car connected to Incident at Isla Nublar, and MM finding a compromise of connecting it to The T-Rex Chase instead of putting it in its own track). I think we have nothing to worry about in regards to how future SW expansions will be presented, if Disney ever hires MM to do them.

CD Discs 1+2 The compete scores, including all extensions, source, and unreleased music. CD Discs 3+4 The 1997 presentations, remastered. CD Discs 5+6 The complete scores, as heard in the film. CD Discs 7+8 The OSTs. CD Discs 9-19 The complete sessions, presented in chronological order, cross-referenced in the accompanying 250-page "coffee table"- style book, to allow your CD player to be programmed to play them in recording order. Disc 20 Bonus Blu Ray disc, of CD discs 1+2, remixed in DTS Master Audio 5.1, by Steven Wilson.

All these years later I still find his Avatar score boring. Can't get into it

I was completely indifferent to the first movie, but I would never bet agains Cameron

I think his best criticism of TFA in his Plinkett review was how it lacked any sexuality, as in none of the characters seem attracted to one another, which would otherwise create drama. Maybe it didn't need it because it was an introductory film, but Rogue One lacked any romance either! Which suggests a pattern in these movies that the studio wants them to be as sterile and sexless and possible to reach as many demographics as desired.

Every cue is written with the film's dialogue in mind. Shouldn't they always include any dialogue and sound effects?

Here's our own @Datameister playing lovely piano solo versions (transcribed by ear!) of some ace JW cues: