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This was a score restore I had to try but the results have broken my heart. I accomplished this with a single 8 second trim of JW's cue. How they felt obliged to dump the entire second half of Williams' intentions and replace it with tracked music from TFA is anyone's guess. Surely the film's most offensive instance of tracking, and certainly the most unnecessary. Thanks, fixed!

It's been officially canceled, though the orchestra is urging people to hold on to their tickets as they're trying to reschedule.

The Mandalorian 1x04 Sanctuary That was awesome! Easily the best episode of the entire series (so far). I pretty much loved it from start to finish. It kind of reminded me of a random episode of some 90s TV shows, like, I dunno, a Hercules or Xena or Stargate or Star Trek or whatever; Introducing you to a new place, our hero comes in, makes friends, saves the day, takes off. It was a nice little self-contained story I really enjoyed. I liked the cold open setting up the plight of the villagers, Mando arriving and getting bone broth for the child (how does he know what it likes to eat anyway?), fighting with Gina Carano and then Eugene Cordero (Pillboi!) asking him for help, the whole training montage, the big battle, the child making friends and playing with the village children, and the fact that they couldn't even stay after everything that happened. Gina Carano's character seemed interesting enough and I assume she's coming back or they wouldn't have cast someone like her in the role. The one villager lady Mando gets close with was pretty good too, and it was interesting to learn more about his helmet (in a prior episode when he said he's never taken it off I thought we were meant to take him literally so it was nice to see him take it off here). The AT-ST was awesome! One thing I like about this show is that it takes ideas and concepts from the SW movies I grew up with as a kid and does them better with modern technology. We had the Jawas done better in episode 2 and now AT-STs done better here. I loved how they tricked it to going in the water. The child gets cuter every episode. The music was again great, I loved the training montage and all of it really. I was shocked to see at the end that this ep was directed by Bryce Dallas Howard, mostly just that a first-time director could pull off this pretty elaborate episode! I guess she learned a lot from her dad.

I suspect, if Anthem of Evil is Psalm of the Sith, then it was initially tracked to resemble something like this: Of course, the final cut plasters Vader's Castle over the Anthem of Evil theme, then fragments of Final Saber Duel over the rest (plus other incidental evil music that we can't place, because it isn't in the spreadsheet either). It's conceivable the entire Star Destroyer reveal originally belonged at the end of the film, and this is what Williams scored to accompany it.

The sound quality really is quite remarkable. It's really pleasant to listen to, if that makes any sense.

Nevada, 1957 Spalko's Theme Call of the Crystal Mutt's Theme Gun Powder The Warehouse action sequence Remembering Henry Sr. and Leaving Campus A Knife at a Gunfight A Whirl Through Academe The Jungle Chase Ants! The Temple Ruins The City of Gold The Departure The Wedding Finale

Listened to Earthquake for the first time ever today, and I’m not sure I was prepared for how ‘70s it was

One of my favorite tracks from this score is "Crimebuster" ! There's some really fun horn parts in there like at 2'17 (I'm probably the only person in the world who took some time to transcribe this )

https://www.orchestraltools.com/store/magazine/view/33 Richard Harvey talks playing the “Window to the Past” solo during the Azkaban sessions.

Here's something that's actually nostalgic by now: the 2 part episode on TV shows. Trek fans know those all too well, with classic 2 part or even 3 part episode arcs that became memorable and epic cliffhangers, like the beloved The Best of Both Worlds from TNG. As for myself, I grew up with the Justice League cartoon, and all of its episodes on the first 2 seasons were two-parter or three-parter. I loved being glued to the TV as a young boy when the JL heroes got stranded in a bad situation at the end of a Part 1, and then the situation being resolved on the Part 2. When I was a teen, I also loved Lost, Battlestar Galactica and The X-Files (binging the show on DVD). All of those had cool cliffhangers, 2 parters and 3 parters, that formed great story arcs. But now, apparently this trope is gone. I guess the shows on this era of television aren't that fond of the idea of 2 or 3 episodes story arcs. They prefer smaller seasons (from 8 to 13 episodes) composed of mini movies, on which the story (inside the longer arc of the season) begins and ends within the same episode. Take a modern show like Game of Thrones, for instance. In the old days, an episode like the Battle of Blackwater, the Battle of the Bastards and the siege of Winterfell could've been a 2 part episode, with a cool cliffhanger connecting the two. These days, they prefer making longer episodes, the size of a movie (70 to 80 minutes), but with the beginning, the middle and the end of the battle. Heck, Westworld's season finales so far were over 90 minutes long. And the show had some 70 minute episodes on the middle of their seasons (like the awesome The Riddle of the Sphinx). And this is a little odd, because the concept of a 2 part episode sounds pretty good on a Netflix binge era. But for current drama/action/sci-fi/fantasy shows, it's much more probable to find very long episodes than a story arc that goes for 2 episodes. Which is a little sad. One of the reasons I loved 2 parters in my youth was that they felt special in comparison with the other episodes. When you're watching through a season, but then you come across as an episode that is labeled "Part 1", you know things are gonna get serious and important, because this is a crucial episode for the show's long story arc. Trek fans, of course, can relate to this. Of course, some shows still do two parters once in a while (The Good Place comes to mind), but now unfortunately this trope feels like a relic from a bygone era. But what do you guys think? Do you miss the 2 part episodes or do you prefer the way it's been done today, with longer episodes?

The liner notes indicate Howard wanted to work with The Chieftains first, and then:

Sure it's lame that JW didn't record a "real" concert version for the OST, but it's just a case of knowing too much. If I didn't know how it was put together I'd have no problem with it.. it was one of my favorite tracks when I first got the OST.

Starting around 1:10 on the FYC track Prologue, there are some cool drums (Taiko?) that you can kind of, sort-of hear. Listen how much louder they are in the Rear channels of the 7.1 mix of the film, compared to even the Sides or Fronts

I know this video has already been posted in other threads, but this really is a nice summation of everything wrong with the film

the cameo made it into Honest Trailers.

And Goldsmith doesn't care about you, other.

Extra welcome during a health crisis: Mail from The WHO.

Far and Away was a slog in its almost 70-minute MCA version, it sure doesn't get better by doubling the length. Great themes, a handful of good concept cues, the underscore is really middling, unfortunately.

So do we all. Missed opportunity of a lifetime -- both for JNH and us.

Me too. I've tried so hard to love Indy 4 (the score, not the movie), but... I dunno, it seems for me that there is an amazing score hidden in an ocean of dullness.

Not much https://docs.google.com/spreadsheets/d/1Fd9aFFEirzQqsbyLyw50lYIITQocy0vGkEalDp6sbYo/edit?usp=sharing

Played on a Polyfusion modular synth, the 7th of Easley Blackwood's "Microtonal Etudes" sounds like some kind of retro-futurist sci-fi Camelot fanfare.

Signs

#ReleaseTheJWCut

You have a lot of fantastic discoveries to make, then, even though you already own his best (WATERWORLD)! JNH is one of the best out there; he's been a favourite of mine ever since I started exploring film music, really (mid 90s). It was a thrill to interview him a few years ago.

That is very cool! I always wanted to see how that was originally scored. Keep these coming, if possible. By the way, why not have the entire scene with the entire cue? Same with Psalm of the Sith / Anthem of Evil? Just curious.

Village People?

Gordy Haab said every cue he wrote for a video game had a review period for the game's director, then Disney, then John Williams. And that was for music for the franchise JW did NOT even compose. I would imagine his level of courtesy approval is even higher for music he did compose and is quite protective of. Also note that just because he had the opportunity to review it doesn't mean he does, just that he was allowed a say in everything if he wanted.

Sneakers One of Horner's more influential scores (for himself), this wonderful score provided ideas to everything from Apollo 13 to Searching for Bobby Fischer, Deep Impact, Bicentennial Man and A Beautiful Mind. It's certainly one of my favorites from him.

Exactly! Though admittedly a lot of that is the way Pedro delivered his lines

Oh wow. Fuck these hacks.

Star Trek: Picard is a two-parter stretched into ten parts. And not well.

Thank you! We really wanted to bring that back for her and this spot seemed emotionally appropriate. Glad you like it. We hoped to incorporate some of those moments briefly established by JW to tie in as the story grows! MS

As someone who thinks Half-Life 2 was a hollow physics playground, this game looks awesome! Not that I'll play it anytime soon.

True, although in the case of RAIDERS, I actually prefer the DCC. You just chose one of the extremely few JW soundtracks where I prefer the expansion over the original!

There is not a single 'boring' score in all of Williams' 90s output. They're all gems, to one extent or the other. I think my least favourite might be SABRINA, but it's still a bloody good score!

When you keep talking about 'scores' when you're actually referring to OSTs you're confusing people.

What on Earth are you talking about? It's a fantastic score. Absolutely nothing auto-pilot about it, painting the autumny feel of the movie in airy acoustic guitar and the warm strings/woodwinds thing he does so well for intimate dramas. In fact, there are very few autopilot scores in Williams' career, and the few there are, are mostly found from 2006 onwards.

If anyone is interested, the Quartet website has the CD listed as available and with a 30% discount: https://www.quartetrecords.com/product/the-long-goodbye/

Hi everyone! Here's a cue in prep for the first task. We hope you enjoy the buildup and some character moments of Cue No. 17: Dragon Selection.

I think the 'Love Theme' from the film is one of Williams' best themes from his lesser known 80's scores. It's such a classy, long lined melody. Heard best at 2:04

.

I'd rather rewatch The IT Crowd.

The original is so much better!

Except that would've put the main title fanfare on the OST three times. Opening, Lando's Arrival and once again in that end title suite. I would've preferred it NOT being in the credits. Not a fan of copied music from elsewhere...

Buying them won't but listening to them might. I'm always seeking to expand my music knowledge and taste. I do have that theme on a Kunzel recordings!

Btw Goldsmith is one of John Williams few equals. His music is greater than any other composer of this age save for John & Horner. Everyone else is a least a step down. Jerry is that great. To be blunt. Jerry is better than any living film composer except one, and better than just about all the dead ones too.