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And JFK and Nixon! And JFK and Nixon! And JFK and Nixon! And JFK and Nixon! And JFK and Nixon! And JFK and Nixon! And JFK and Nixon! And JFK and Nixon! EDIT: What the fuck happened?!

Updated main post with new videos: The Greenhouse Effect The Operating Room / Dr. Eddie And Miss Van Eyck The Swimming Pool Deploying The Spyders / Freezing Water Saving The Eye How Much Time Have We Got? Another Vision

Best scored movies? Out of Africa E.T. Psycho Star Wars Empire Strikes Back I deliberately excluded Jaws, because I love the movie and I love the score, but... In Some scenes, the music is a bit "too much"...

I'll be honest when I say that the score to Chapter 5 was not as immediately keeping as the episodes prior, but over time I have come to appreciate the progression it marks in the series. It's hardly a musical turning point, but there are certainly some new tones that appear in passing as the mid-season one-off adventure permits. Considering how diverse the sound palette of the show is, this particular chapter features some of the strongest mismatching of ideas, ranging everywhere from a brass-led space dogfight to a dynamic twangy guitar setpiece. Interestingly enough, Chapter 5 boasts the shortest runtime of all the mini-albums, clocking in at twenty minutes, with less than two minutes of unreleased music, as I'll discuss further (note that after Chapter 4 I have not rewatched with unreleased music in mind, so I'm leaning on CGCJ's fantastic spreadsheet at this point). Let's give it a shot! Unfortunately, we don't hear much of Warm or Cold in the episode proper. Fortunately, the cue is included in its entirety on the OST. Surprisingly, this is the first taste of space battle music, as any other flying scenes have acted as transitions thus far (aptly underscored by that wavy synthesizer). Suspended strings run up and down as the fanfare gets stretched and pulled across the orchestra. As the stakes heighten, the utility theme walks a tightrope and delivers a strong sense of danger. A short intro segment sounds confidently as the tables turn, and leads into a verbatim Western title card. Dead Heads is a forty-second unreleased cue that, if I recall correctly, largely features a drum pattern used multiple times throughout the series. Bright Eyes is most certainly a delectable little nugget in the grand scheme of the score. An uncertain opening of eerie synths make way for a lighthearted pizzicato and woodwind serenade, with dressings from harp and a certain "marimba"-esque synth that should ring familiar for those who read my write-up on Chapter 4. This cheery, bouncing excerpt takes the cake over the off-kilter Jawa motif (we'll get there in a moment) for the most Prokofievan melody in the show, embodying that playful innocence that Williams' tapped into with the Ewoks. It's certainly a unique passage in the score, standing above comparison to any other cue. Stuck With Me Now, to me, is fairly standard underscoring. We hear a deep, dark string line, foreshadowing the changing fate of the newly introduced rookie bounty hunter, but there's little else of note present here. Speederbikes is a short cue, but centre stage of the episode nonetheless. From the get-go the rhythm of the Jawa motif is borrowed and reshaped, this time taken up by full orchestra, ringing out joyously from the trumpets. A "surfing" guitar and familiar percussion bring in the new idea of the episode, which has both multiple parts and, in turn, multiple uses. Desert Raiders, only heard in episode, is fairly similar, but works out the new motif immediately. Raiders is a rather intriguing cue for being, again, so short. The overlapping muted trumpets outline the very last notes of the fanfare, evoking a sound that reminds me of something out of Star Trek (cannot put my finger on it exactly, but I think you'll understand what I mean). The rest of the track is a soundscape dominated by pattering drums and a very wild (and unorthodox) woodwind of some sort. I have no recollection of hearing the next cue, First Watch, and given that it's no longer than half a minute, I'd wager it's not especially integral. Night Riders offers a bit more space for the speeder motif, intermixed with cutting electronics that signal the rush of the bikes across the sand and the path of the flares in the night sky. A solo oboe ends the cue, which picks up again in The Hangar. Decidedly pretty winds and harp rise and fall before atmospheric strings take the reigns. That same brooding line from Stuck With Me Now comes full circle. As a last little Easter egg (emphasis on egg, hehe) the snooping synth from Chapter 2's The Egg reappears, and not for the last time either. In Farewell, the Child's theme makes a rare but gorgeous appearance, reaching upwards on solo flute with a lovely harp accompaniment (John Barry, is that you?). The fanfare picks up with a bopping synth, and a full orchestra (and recorder) mark the end of the episode with the riff. The track ends with some dark, menacing elements for a brief tease at what must be a Season Two revelation. We'll know soon enough! Glad I was able to follow up so soon. I aim to wrap it all up in the coming weeks and make all my notes and analysis available in a neat PDF, to keep things in one place. I am considering going back to Chapters 6, 7 and 8 as there's a lot more unreleased music there that I'd like to bring to light (twelve cues!!!). As always thank you for reading and cheers!

What's useless filler about them? Order of the Phoenix established the returning threat of Voldemort and the Order who oppose him. Half Blood Prince sets up the Horcruxes and Voldemort's past whilst Dumbledore grooms Harry to be ready to face these challenges. Besides, even if we truly got a filler book, I would be happy to spend more time in that world - some of my favourite parts are the character's school lives.

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Do you mean this piece? I couldn't find anything else. I mean, I can see where you're coming from, but it would be a real stretch to call that 5-note motif an inspiration for the Jurassic Park theme. It's a completely different style of music, too. There are no uncanny similarities that I can hear.

Actually, will has engraved editions of all of his scores. A lot of it will probably never get released because the film studios are greedy, but also he handed all the publishing to Hal Leonard, who makes a ton of money already so their stuff isn't expensive, but at the same time they're not really a publisher like Boosey Hawkes for example. But the biggest hold up seems to be Williams ok-ing all of it. But that happened with Boulez, after he was gone his stuff became more readily available.

Also, this. Always pictured pirates to this particular part with the horns Also, I can totally picture a swordfight to this:

He was - and is - generally very restrained when it comes to the use of electronics. And especially in the 90s. It was far more overt and 'hokey' in the 80s, with stuff like "Training Montage" from SPACE CAMP or the Crimebuster theme from HEARTBEEPS.

Good question - I suppose the engravers would simply be restricted to whatever survived of the original pencil-and-paper scores. I seem to remember that Juillard's library will get WIlliams's personal archive when he finally disappears to become one with the Force, so it's possible.

There's no point mucking about: how about the complete score to Empire in a study score version, like the yellow Ernst Eulenberg books? Now I'd pay some good dollar for that. One day, my brothers and sisters... one day. Mark

Except he didn't do that much electronics in the 90s, and you even like one of the scores that features it the most. So I don't see what's to complain about.

I can't relate on this one. It's definitely more polished and less boisterous than, say, Raiders or even the original Star Wars, but I still find it to be a rousing and very enjoyable listen. I think it sounds the best out of the PT scores, and better still by comparison to the ST.

Man I am looking forward to hearing this so much. 7-8 more weeks of waiting is annoying though

So did I. It's probably post of the week.

I win! I always win. Is there no one on this planet to even challenge me?!

No, it’s cemented by those two marvelous scores!

Thanks, that explains why this is happening now and then, but on very rare occasion. What Bolle says.

Ooooh

Why remove them? I had a good laugh.

No, it isn't

You call this "a glitch"?!

Who?

My biggest reference to pirate sound was always Peter Pan.

I love regional flutes. Ok, now, Bernard, I Said Bernard! Citizen Kane (McNeely re-recording) Fahrenheit 451 (McNeely re-recording) Vertigo (McNeely re-recording)

It's a good question.

You can't win them all. (Fiona Volpe could kill me any time she wanted. Wow!)

Mephisto (1981)

This always sounded extremely pirate-y to my ears

I see where you're going with this, but I think its much too harsh. I've done the exercise of taking film series and laying their story on a three-act diagram as though they were one giant film. Its a nice exercise in terms of trying to understand how we think of serialized storytelling. I was quite surprised when I realized that the end of "Act I" in the Harry Potter series (which is when Voldemort first manifests in the flesh) happens halfway through the series' running time, which is much longer than you'd want, but certainly not unheard of. The classic Star Wars trilogy ends its first act, too, halfway through with "stopped they must be." At least with Harry Potter you do know no later than the last third of the first film that Voldemort is - and will continue to be - the main antagonist. That doesn't happen with Vader in the classic trilogy (much less the Emperor) until The Empire Strikes Back, doesn't happen with Thanos until Infinity War, not to mention Darth-Zombie in...that trilogy. The Star prequel trilogy sets-up the main antagonist quite early on, but when you look at it as part of a six-film suite, it doesn't work as well. As an exercise in telling a story across multiple films, Harry Potter is second only to the Middle Earth films; and that's not a fair comparison because that series was made by one filmmaker (and as two productions as opposed to seven). So I definitely think the film-to-film storytelling in Harry Potter is more effective than it is not.

One of the best pirate scores EVER, original tracks never released but there’s this great re-recorded suite on Chandos: another absolute classic; Clifton Parker’s score for the very first live action Disney feature (again there’s a modern Chandos recording with over 20 min of the score): Not *exactly* a pirate movie, but another cracking seafaring score by the same composer over a decade later: Anne of the Indies by Waxman has some awesome stuff...for your compilation I’d use the Kunzel suite (which I can’t find online at the moment) but here’s the original recording: You should get this fine Kunzel album which in addition to a great sounding suite from Anne of the Indies also has other goodies like Waxman’s Captains Courageous and Bernstein’s The Buccaneer: https://www.discogs.com/Erich-Kunzel-Cincinnati-Pops-Orchestra-Masters-And-Commanders-Music-From-Seafaring-Classics/release/8869332 Some Captain Blood and The Sea Hawk by Korngold would also be good to include — maybe the Gerhardt recordings there. This is the one awesome cue I would absolutely prioritize including from the Pirates of the Caribbean franchise: I’ll come back if I think of more. Yavar

He hopes that the title(s) they want to release on the 28th will be approved and back from the pressing plant by then LLL hasn't done the clue game for years, they just wait until things are at the plant then put them on a monthly flier, or don't do anything and just announce them about a week before release via a short Facebook/FSM post

I actually find Men in Tights and Dracula: Dead and Loving far funnier than other Mel Brooks movies like Spaceballs

See? That wasn't so hard, didn't even take long! Or were you waiting for us to discover things, do mockups, get the cats out of the bags, then do this instead of having to be the one to break them to us 2 years ago?

I don't remember where it is The best way to find a difference between 2 versions of a cue when it isn't obvious from looking at each in an audio editor, BTW, is to put headphones on and play one version in the left ear only and the other version in the right ear only.

What the hell? JFKs, Nixons and Shindlers are nice, probably just in the top 100 He should have skipped the whole 90's no wonder he was done and wanted to retire.

You could put that track on one of Blofeld's Thunderball conference chairs and press the relevant button, and it still wouldn't be 'electrifying'.

UPDATE: Paramount says this is not true and Star Trek movies are still in development.

Chapter 4 of Season 1 was initially my favourite of the mini-albums released for the show at the time of it's release. I'll echo something that Cerebral Cortex had said pages back, in that it amazes me how the new theme (multi-part theme, that is) for this episode is such an amazing little earworm of a melody that is exclusive to this chapter alone. It appears nowhere else in the score, and will likely have little reason to return in Season 2. And it's a better theme than most films (let alone shows) could ever hope to get in today's industry! Anyways, fascination aside, it's probably the one that has played in my head the most since I first heard it. Let's take a closer look! The Ponds of Sorgan introduces a whole new soundscape, with the Razor Crest receiving a quaint and idyllic setting on acoustic guitar and clarinet. This small ensemble of instruments is representative of the villagers in the episode, and we hear the first shades of their minor motif played early on. The orchestra takes a back seat to what can only be described as an alarm, which the strings rustle beneath. Bombastic synths break through (which quite honestly sound like barking dogs) and we hear a fantastic build-up to the smashing one-off theme, accompanied by a simple but propelling beat (da--da--da--da--da--etc.). The frantic B section gets a running, and segues into the title card, with now familiar piano and fluttering synth. With Off the Grid we go off the beaten path, at least for some interesting developments. The fluttering synth and fanfare get new modes, the latter playing over "news reel" strings. We emerge into a peaceful environment of synth and marimba (don't quote me), and hear a simply perfect interplay between the recorder and Razor Crest themes, further displaying just how complimentary they are to each other. Keep an Eye on the Asset, unreleased, provides building suspense in the string section as Mando tracks Cara's footprints. Please Come In, not on the album, is an encore of the earlier guitar rendition of the Razor Crest, this time with stronger involvement from the strings. Can I Feed Him? continues this scenic mood with innocent woodwinds and the guitar for the villagers. We hear the Razor Crest on flute, a solemn passage for the B section of the utility theme on horn, and an alarming bustle from the strings to round out the cue. Training the Plebs is without a doubt the cue of the chapter and the defining setpiece for the new theme. First off, and this is just something I noticed recently, it recycles the three-note "marimba vibe" synth from Off the Grid, and essentially plays it under most of the track, this time with an increased tempo. There are so many neat elements playing off of each other here, making this one of the most intriguing cues from an orchestration standpoint. I recommend listening to it very carefully and trying to separate all the different parts at work. In a lot of ways it is structured as a fugue, which really lends to my above points. Camp Attack is a synth plaster board, non-descript at times, but effective and not without a fair share of cool moments (the sound at 0:30 and a very heavy synth patch at 1:33). That takes us immediately into a more expansive setpiece with Spirit of the Woods. As a direct follow-up to Camp Attack, we hear a fusion of electronics and orchestra for extended passages throughout, slowly phasing out the computerized elements in order to return to a sense of calm in the closing cues. There's a simply fantastic throat singing effect that I was reminded of when I saw the trailer for the second season, which had a similarly unique musical choice. While I doubt that the music in the trailer is any reflection of Goransson's upcoming score, that particular part did well to stick out at me (fingers crossed all the same). The beat of the chapter theme serves as underlayment for interludes of the B sections. We then hear more of that deep voice work and some very Williams-y trumpet hits (think the destruction of the Death Star). The main fanfare gets down to business as the action reaches a climax, and the tension releases. Two short cues presumably not on the album follow: Fits Right In and Leaving Him Here. The former begins with that same rendition of the Razor Crest motif, moving into the recorder riff on what must be clarinets. Ominous music plays as bounty hunter appears in the woods. It is quite possible that I may have misheard, and that one (or both) of these cues make up the OST's Stay, but I know there are at least sections here that have yet to be heard clean. Mando Says Goodbye to the villagers, and a fitting reprise of the Can I Feed Him? melody plays them out. The Razor Crest gets a second go at its Off the Grid setting, played by full, lush strings with joyous but grounded interjections from the brass. The classic space cutaway zooms out the cue and closes the episode. Had another great time revisiting this album! I believe Stu did an isolated score for a large part of this episode, and while I cannot find the video presently I highly recommend it as an opportunity to see how it lines up to the picture, particularly the training and battle scenes (EDIT: see Stu's post below me!). Thanks again for reading, and feel free to join the conversation, perhaps by sharing your thoughts on a particular cue or idea. Again, I will try my best to keep these coming in time for the incoming buffet in the coming months!!!

I just watched it and was amazed by how many different and unusual instruments were used for the main title, the man is definitely talented with his ability to play so many different instruments, I can't even begin to play one! LOL

So, as we can read in the booklet, both versions of Journey were recorded on March 7th, and both versions of Blue Fairy on March 15th, so this correspondence is almost strange. Also, did he write new ones quickly for the afternoon session or did he just come prepared with two versions on both days? Both Journeys match up somewhat differently but not badly with Stored Memories, recorded on Feb 15. Nevermind. Version one: Blue Fairy alternate, Journey part 1, Stored Memories Version two: Blue Fairy main program version, Journey part 2, Stored Memories Version three: film edit. Blue fairy main program version and orchestral excerpt switching back and forth, microedited twice, the last bit slowed down artificially. Journey pt.1 looped, switches to pt.2 midway. Journey pt.2 microedited, then looped to replace this portion of Stored Memories.

And, you're surprised? Not " people", JWfanners. 😁 Yes but... If you have the ost and BTT , you have pretty much all you need. I love both albums- I have asked many times about a memorial service/ funeral . This is the first mention of one. Can you give any more info or a link? Thanks! The same is true of BLADE RUNNER , but that didn't stop people devoting YEARS of their lives to the project !

I used to sing in a Russian choir. Just stumbled over the following...ARE YOU FUCKING KIDDING ME?!?

It's not a thicker skin we need. I can take a few knocks from people who don't like something I like, but when it's the same people relentlessly dedicating their lives to commenting unnecessary hatred all over every Giacchino thread, it's just mentally draining to find the actual discussions and not just another insult.

@BloodBoal In Desplat, the ending T is muet. It's Dessplah. Maybe he quit because he was tired of explaining how to pronounce his name!