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Bundling these three scores together was a request from JW himself. You'll learn more soon in an upcoming podcast with Mike on The Legacy of John Williams

Guys this is the real deal. It is utterly amazing how much better Mike was able to get The Towering Inferno to sound compared to the FSM CD. The years of improvements in both technology and his own experience really have created a final album I never would have thought possible. It's quite remarkable. You'll notice as soon as the samples go up.

Who’s gonna tell ‘em?

The set exists the way it does because JW asked to present it this way, otherwise it would have been three separate releases. You'll hear more in the podcast I recorded with Mike and Tim Burden, hopefully in a couple of weeks. Stay tuned!

https://www.facebook.com/lalalandrecords/posts/10158203194698755

They left out Indiana Jones 4.

Nah, whatever release Thor heard first for any given score has perfectly fine sound. It's also coincidentally always the absolute perfect presentation and listening experience!

I very much hope cosplayers won't appear anywhere inside or near the Musikverein. Let's make this as a celebration of art and music, not about nerdy people in nerdy costumes.

Thanks to post this on black Friday mate!

I can assure that all three scores sounds MUCH better than the previous releases.

Talking about disaster movies, they missed a chance to include Hook in the box!

Probably the worst spotting in JW's career is this moment going unscored. What was he thinking? That blood splatter needed a xylophone hit or two!

Thanks for sharing! I do agree with most of the comments here. My arrangement is a very generic/plain trailer music trash for sure. Sounds like a Lexus commercial music. lol I just spent 3 hours orchestrating this piece for fun since the final trailer music was very popular at the time, but I think the arrangement gave star wars fans a nostalgic impact. If I spent a couple more days and had a budget for an orchestra, I think the song could've sounded a bit better, honoring John Williams' musical legacy... As a composer, I'm constantly studying John Williams' scores because it is so timeless and beautiful. Anyways thanks to those who listened to the track and gave feedback!

This release will only remind me of how great Arnold was (or is) as a composer, and that he should be scoring more Hollywood big budget movies

Yeah even the different studio aspect seems irrelevant now. I could definitely see this happening in the next few Black Fridays (The John Williams / Oliver Stone Collection) considering none of the 3 scores have ever been expanded. Would explain why JFK is taking so long. The idea of a "Williams Disaster Score Box," never occurred to me but it seems like the Williams camp must be reasonably fond of the concept of bundling similar scores in deluxe sets.

I feel turtlenecks are allowed as cosplay.

Hi, folks! A special appeal to consider the Paramount Westerns collection ... and not just because I'm a producer on it! There's some truly magnificent music on this set from Golden and Silver Age greats, both celebrated and obscure ... scores from the Hollywood in which John Williams came of age. Check out the sound clips when they go up and see what you think! And I'm happy to answer questions, if anyone has any!

It means you need to go outside?

I didn't ask if someone thought it was cute, penis breath!

This is how I divide his career. The 50s represents a student period, so I would keep that separate From about 1960-1974 we have the Early Period Here, Williams really began his career in the concert hall and for the screen. At first, he kind of divided the two fields, trying to write "serious" concert works and lighter film and TV works. As his concert career did not really take off, Williams seemed to begin to devote more creative energies to his dramatic works, now also using the name "John" for them. Jane Eyre perhaps represents his first fully mature work. The next period I call the Heroic Period which lasted from 1975 to about 1986 The death of his first wife, Barbara, is the event that divides the periods and, as Williams has said, marks a major turning point in his life and art. Williams's music in this period is marked by two things: subject material that reflects heroic themes and events, and characters; and, music that represents a struggle with and triumph over challenges in life. The transition piece here is the Violin Concerto, which, like his trio of disaster scores in a sense, deal with the emotions of a sudden calamity. After this, Williams seems to have become more personal in his music, even as he began scoring more and more high profile works. The intense forces of nature and exhausted triumph in Jaws. The reaching for something higher in the artisic triumph that is CE3K. The straightforward, ambitious heroics of the Star Wars movies, Superman, and Raiders of the Lost Ark, with their love themes that range from yearning, to acceptance (Death and Transfiguration quote in Superman) to romantic renewal. And, finally, the utter triumph and joy in the last sequence of E.T., where Williams, now at the pinnacle of American music, gives a symphonic statement that calls to mind the Finales of Beethoven's Heroic period. This period is followed by what I guess I can call the Reflective Period. This is a rather brief one, lasting from 1986 to maybe 1996. Here we find Williams thinking about his legacy, trying to craft music that can stand alone in a sense. He returned to more concert music writing. And, his film writing underwent a change to a more subtle approach. Scores like Empire of the Sun, Born on the Fourth of July, and Schindler's List are prime examples, but even his blockbuster scores, like The Last Crusade, Hook, and Jurassic Park are marked by this shift. For me, this represented Williams at his compositional peak. Next comes what I call John's Experimental Period, which started in about 1996 and lasted until 2005 or so. (KOTCS, and the late 00s concerti represent kindsof inter-period works) This period was marked by Williams beginning to be more eclectic in how he approached film projects. He began to be a little more adventurous with many scores, even more operatic, even, than he had been before. The Prequel Scores, A.I., and Memoirs of a Geisha are some prime examples. His concert works also began to really push the boundaries of modern romanticism. Finally, we have John's Late Period. Starting in about 2011, Williams started to write music that has felt a little reflective, where he has streamlined things, but has returned to a sort of straightforward vitality. Yet, the music he has written for film in this period are quite distinct from anything he has done before, even in recent years. Semi-retirement has allowed him to be more selective with his projects, and spend possibly some more time on them. Also, I find he has made strides in terms of structure in his concert works.

How can you trash someone who literally said he worked on this as an exercise, and for mere 3 hours? Not everyone is a Shostakovich. Let people have fun with Williams' music the way they see it. It is a testament to his legacy that composers in training are using his themes as a basis for personal experimentation, whatever its goals might be.

Klaud is still in the movie!

The Universal fire had nothing to do with that at all. Universal Music and Universal the film studio are unrelated companies with their own independent and separate archives. The fire destroyed the LP re-recording's original master, which is why it couldn't be rebuilt from scratch, or even remastered in any way, and they had to use a 1992 CD master that was found elsewhere instead. The original film recordings were not vaulted as well as other scores from the era, and when they were pulled in 2000 to make the new audio mix for the film itself, some cues were even permanently damaged. They did the best they could with the technology available at the time for the film's new mix and the 2000 Decca CD. The new transfer made of those elements for the 2015 Intrada CD would still have all the same gaps from the damage, but the slew of new and upgraded technology available to be used to work ON those transfers, Mike's expertise with them, and his idea to mix them in a different way resulted in such a drastic sound difference from the 2000 CD its remarkable. Two CD releases sourced from the same tapes, and wildly different end results! Not for me to say, but I'm sure Maurizio's interview will shed a lot of light on it!

I wouldn't say it's comparable to that because of soooo many different factors. Superman already sounded good in the Rhino and FSM, but then it was still remarkable just how much better the LLL came out, proving that going back to perfectly vaulted first gen elements from that era can yield results dramatically different than all the nth generation analog dubs used before. The final result sounds as good as any great recording from any era. The Towering Inferno never sounded good, the FSM is kinda cruddy sounding with a lot of damaged material and entire cues omitted either because they weren't found or were heavily damaged. The LLL sounds amazingly better, but it's not like original 1st gen elements were perfectly vaulted and recently uncovered in pristine condition or anything. And the orchestra, room, and recording were all quite different from Superman anyway, so it's not like even under ideal conditions it was capable of sounding like that. It's a much better comparison to make to Jaws, which was similarly damaged and non ideal elements, yet still sounds so different from the 2000 Decca to the 2015 Intrada. This isn't the kind of hugely drastic change as that (which is probably the biggest sonic upgrade I can think of ever happening to any score, I don't think it will ever be bested), but it is a quite remarkable upgrade!

Amusing that none of the 3 JW scores released on BF were even options in the poll.

I've never heard EARTHQUAKE or POSEIDON apart from the main themes on compilation cd, so Iam ready for these. Sold my FSM copy of TOWERING INFERNO 10 years ago because some confused guy at SAE told me that a new remastered set was coming. It wasn't. It was the POSEIDON. So anyways glad to nab it this time remastered et all.

Yes, one of the reasons why so many studios record abroad. I think it costs more to record it but you pay musicians only once. Karol

He fell into a shaft, seemingly got electrocuted and then the entire structure blew up. Besides, its not just about what you see, its about storytelling shorthand. Even a young kid seeing the film in 1983 could take the end of Return of the Jedi for what it was always intended to be: the dark overlord slain and the evil Empire defeated. The series should have ended right there.

Personally, I'm thrilled for the release, and while there is a lot of material here from other sources, having a new package, with as much as we can get and album presentations is a plus for me. (The Earthquake score was released in quad sound, so I guess that is missing - glad I have it, not that I ever listen to it since I have to pump it though my home theater!) Looking forward to the podcast from @TownerFan and Mike M. Order date is apparently Tue, Dec 3, 12 pm PST along with La-La Land's other 4 releases (ST Voyager Vol 2, Karate Kid, Paramount Westerns and Stargate).

Is that mean that the 1974 album was a re-recording? Or just that it was made with some alt recordings from the score sessions? Do we have more information at this point? For my part, I'm happy cause I always had the feeling that it was useless to try to track down those two "rare" OOP previous expansions: My patience have finally paid!

This is a « disastrous » news! I like! 👍

Oh my god my poor wallet!

Next bundled release: The Oliver Stone Soundtrack Collection

Are any of these releases Sony scores? We know LLL have 2 that survived the policy change, so if none of these releases are Sony scores then they're still forthcoming...

I hope JW wrote some Al Newman-like wistful cues--she looks like Jennifer Jones in The Song of Bernadette. To my ears, this could be trailer-ization of an actual cue from the real score. It's pretty much a given Duel of the Fates will be in the film.

Yup all five releases: 1: Jurassic World 2: Fallen Kingdom 3: Lego Jurassic World 4: Jurassic World Remix Album 5: Jurassic World Short Film score.

This first track is already one of my favorites yet. Love the tranquil, acoustic-guitar-infused take on the Razor Crest fanfare motif, but the real highlight for me is the new theme that is first introduced at 1:57.

Just enough time for one last time!

There's no excuse for Williams not to knock this out of the park. The movie looks like it has everything he needs to write an incredible score to close off the saga. You can see why he was so excited after seeing the first cut (even without all the effects done).

Oh goddamn, don't tell me I'm the only one was actually touched by this? Especially hearing "ET and Me" in a scene, again.

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Pass, pass, pass, pass, pass.

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