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Just finished listening to the entire score for the first time. The clarity of the sound is phenomenal and a great improvement from the OST. It is great to hear all of the previously unreleased music for the first time outside of the film itself. Perfect listening for Halloween. Heck, I think I'll re-watch the film on 4K Blu-Ray again just for the heck of it. Chills!

So this is my first attempt at a thematic analysis for Enola Holmes. Please correct me or propose additions in case I have missed anything. I actually think there are still other small motifs in the score. After doing this analysis, I actually think this might be the best score of the year. Themes & Motifs 1. Mystery Theme - De facto main theme of the film in its normal guise and specially the more prevalent adventure theme. You can tell DP thinks this is the most important theme as this is the first theme you hear - over the logos before the main title. The regular mystery theme is a slightly slower and more fully articulated version of this theme. Check out the piano solo rendition in An Old Friend. 01 Enola Holmes 0:16 - 0:31 06 Train Escape 1:53 - 2:01 13 The Limehouse Puzzle 1:36 - End 17 Basilwether Hall 0:26 - 0:57 24 For England 0:00 - 0:35 27 An Old Friend 0:00 - End (piano solo) 28 Mother 0:32 - 0:59 2. Enola's Theme - The title theme, very good and memorable. Used sparingly but always with great impact. For example Fields of London really stands out as it is used for a scene transition. The fullest versions are the main title and end credits in the first and lack tracks respectively. 01 Enola Holmes 0:32 - 2:38 03 Mycroft & Sherlock Holmes 0:00 - End 09 Fields of London 0:00 - End 22 School Escape 0:00 - 1:07 25 Ha! 0:00 - End (De-constructed variation?) 29 Enola Holmes (The Future Is Up to Us) 0:00 - End 3. Mystery Theme (Discovery) - Used just twice, it is the mystery theme over a bed or swirling figures denoting a sense of discovery. 02 Gifts from Mother 0:00 - End 14 Limehouse Lane 0:00 - 1:10 4. Eudoria's Motif - A haunted solo vocal voice that denotes a sense of loss and is slightly spooky but also sad as it represents Eudoria who isn't here any more. This might be a vocal version of the Mystery theme or the same theme as the Mother-Daughter theme also featured on solo voice later on. Best expressions are identification renditions in Gifts from Mother and Limehouse Lane. 02 Gifts from Mother 0:35 - 0:49 14 Limehouse Lane 0:38 - 0:52 14 Limehouse Lane 2:18 - End 24 For England 0:36 - 0:58 5. Mystery Theme (Adventure) - The most prevalent theme - it is the bouncy strident action theme of the score and has a great sense of propulsion and drive. This is different in the sense that it uses the first notes of the mystery theme in a different rhythm and then does its own thing. The Game is afoot has a nice rendition with it exploding into the full orchestra at the end. London Arrival also goes through the many contours of this theme. The first rendition in the Enola and Tewkesbury is also memorable and could be its own theme. 04 Cracking The Chrysanthemums Cypher 0:00 - 1:42 05 The Game Is Afoot 0:00 - End 10 London Arrival 0:00 - End 15 Fight Combat 0:00 - 0:08 15 Fight Combat 2:59 - End 18 Forest Clues 0:39 - 1:10 18 Forest Clues 1:49 - End 22 School Escape 1:31 - End 26 Enola & Tewkesbury Farewell 0:47 - 1:22 26 Enola & Tewkesbury Farewell 2:23 - End 6. Decision Motif - A superb idea by DP and very very effective. Instead of repeating Enola's Theme all the time, every time Enola makes a big decision, this motif bursts forth to great effect. And because Enola makes big decisions in big moments, several important scenes feature this motif. Watch out for the standout rendition in Escaping Lestrade where it takes on a monumental gravity. Is it the organ I hear there? But a great motif and since Enola's theme is very light and peppy, this works very well for all the big moments. 04 Cracking The Chrysanthemums Cypher 1:42 - End 06 Train Escape 2:31 - End 13 The Limehouse Puzzle 0:43 - 1:14 15 Fight Combat 1:06 - 1:15 20 Escaping Lestrade 0:00 - 1:23 22 School Escape 1:08 - 1:30 26 Enola & Tewkesbury Farewell 2:03 - 2:22 7. Tewkesbury’s Theme/Love Theme - An outstanding swoony theme for the budding romance between Tewesbury and Enola. He's basically the love interest so its fitting he got a theme like this. It is a romantic theme but not necessarily overtly feminine, it has a dreamy masculine edge too so works quite well for the character. The first rendition in Marquis is the best one. In the sequels, this theme has a lot of promise for development. 08 Marquis 0:00 - End 19 Tewkesbury’s Trail 0:00 - End 24 For England 1:37 - 2:02 26 Enola & Tewkesbury Farewell 0:00 - 0:46 8. Linthorn's Theme - A complex theme of a percussion and pulsing brass with scary flute figures. This is a good churning villain theme for the henchman pursuing Teweksbury. Maybe a bit Gia-esque. 14 Limehouse Lane 1:14 - End 15 Fight Combat 1:20 - 2:35 23 Tick Tock 0:42 - 3:10 9. Mother-Daughter Theme - A solo voice theme for Enola's relationship with her mother and her memory. Best heard in the track Mother. That track is so good that it is used twice - also tracked earlier in the film where Sherlock comes to meet Enola at the girls' school. 21 Making a Lady 2:19 - 2:51 23 Tick Tock 3:11 - End 24 For England 1:00 - 1:26 28 Mother 1:00 - End Track by Track Analysis 01 Enola Holmes 0:16 - 0:31 Mystery Theme 0:32 - 2:38 Enola's Theme 02 Gifts from Mother 0:00 - End Mystery Theme (Discovery) 0:35 - 0:49 Eudoria's Motif 03 Mycroft & Sherlock Holmes 0:00 - End Enola's Theme 04 Cracking The Chrysanthemums Cypher 0:00 - 1:42 Mystery Theme (Adventure) 1:42 - End Decision Motif 05 The Game Is Afoot 0:00 - End Mystery Theme (Adventure) 06 Train Escape 1:53 - 2:01 Mystery Theme 2:31 - End Decision Motif 07 Nincompoop Standalone cue 08 Marquis 0:00 - End Tewkesbury’s Theme/Love Theme 09 Fields of London 0:00 - End Enola's Theme 10 London Arrival 0:00 - End Mystery Theme (Adventure) 11 Dressing Up Box Great standalone cue 12 Messages for Mother Great standalone cue 13 The Limehouse Puzzle 0:43 - 1:14 Decision Motif 1:36 - End Mystery Theme 14 Limehouse Lane 0:00 - 1:10 Mystery Theme (Discovery) 0:38 - 0:52 Eudoria's Motif 1:14 - End Linthorn's Theme 2:18 - End Eudoria's Motif 15 Fight Combat 0:00 - 0:08 Mystery Theme (Adventure) 1:06 - 1:15 Decision Motif 1:20 - 2:35 Linthorn's Theme 2:59 - End Mystery Theme (Adventure) 16 Edge of a Cliff Standalone cue 17 Basilwether Hall 0:26 - 0:57 Mystery Theme 18 Forest Clues 0:39 - 1:10 Mystery Theme (Adventure) 1:49 - End Mystery Theme (Adventure) 19 Tewkesbury’s Trail 0:00 - End Tewkesbury’s Theme/Love Theme 20 Escaping Lestrade 0:00 - 1:23 Decision Motif 21 Making a Lady 2:19 - 2:51 Mother-Daughter Theme 22 School Escape 0:00 - 1:07 Enola's Theme 1:08 - 1:30 Decision Motif 1:31 - End Mystery Theme (Adventure) 23 Tick Tock 0:42 - 3:10 Linthorn's Theme 3:11 - End Mother-Daughter Theme 24 For England 0:00 - 0:35 Mystery Theme 0:36 - 0:58 Eudoria's Motif 1:00 - 1:26 Mother-Daughter Theme 1:37 - 2:02 Tewkesbury’s Theme/Love Theme 25 Ha! 0:00 - End Enola's Theme (Variant) 26 Enola & Tewkesbury Farewell 0:00 - 0:46 Tewkesbury’s Theme/Love Theme 0:47 - 2:02 Mystery Theme (Adventure) 2:03 - 2:22 End Decision Motif 2:23 - End Mystery Theme (Adventure) 27 An Old Friend 0:00 - End Mystery Theme 28 Mother (Tracked earlier in the film too) 0:32 - 0:59 Mystery Theme 1:00 - End Mother-Daughter Theme 29 Enola Holmes (The Future Is Up to Us) 0:00 - End Enola's Theme

He’s a Thorite! get him!

from Imgflip Meme Generator

Yeah, I've seen these on YouTube as well. It does look fine when edited correctly, and I wouldn't freak out if Jackson did this. I'd just prefer he didn't. Setting aside erasing Holm's (albeit limited) performance in this scene, I actually think in terms of continuity it works better with Holm in the prologue. It reminds us that we're looking at an event from myth and legend,as Bilbo told it, not something that was filmed while it was occuring. From an audience standpoint, since it's Holm's Bilbo we see in LOTR, I think it makes sense to keep Holm as well. Though I'll concede there's an argument to be made on the other side for those watching the six films in order. If I had to guess, I'd say they'll leave it alone for this release, but for the big, mega, super release coming next year, I can see Jackson tinkering a bit more. In which case I'd be all for it, as long as we have the original versions in the highest quality currently available. In any event, what I'm more interested in is the colour grade for this release, and if they'll get rid of that damn green tint in Fellowship.

He shared a quick clip of playback of the film version of Chicken in the Pot on his story

Laurence Olivier in Vienna: Somewhere behind him in the third picture (on Kohlmarkt) is the secondary shop of the Gramola company, where I bought many of my earliest CDs in the 90s (mostly Deutsche Gramophon discs for what would today be about €6, but also the Morgan/Stromberg recording of The Egyptian at one point. Although I don't know when they opened that shop, and they've since closed it at some point during (probably) the last 10 years (their main shop around the corner on Graben still exists, somewhere on the right in the second picture).

It would be nice if you could order CDs and be able to order out of stock items (not OOP, just not available at the moment) at the same time so they could reserve items and prepare the order as items come back in stock. I wouldnt care to receive things way later (months even, as long as a I was 100% sure I would get them. I'm mean paying everything in advance of course. But it would save alot in shipping.

But why? Especially with scores that already exist in the format you prefer? Some of us want C&C and you prefer the OST. If both exist, then what's the problem? Are both sides not then happy?

I think people misrepresent both by calling them horror films. it's not what they are. These are dramas with horror elements. The scariest elements in those films have nothing to do with horror genre. It's more about existential horror. A twisted Bergman, almost. But that doesn't really describe it accurately either. Think this is exactly why I like both. But Midsommar is easily better. Karol

Just buy 4 that you already have and then sell em on ebay for an exorbitant price

Height × width × depth = volume Multiplication is commutative

I love how Copland orchestrated his setting of “The Dodger” so so much. His orchestrations for all of the Old American Songs set (originally for piano and voice) are just incredibly well done. The way he brings in the flutes and clarinets just for the second “Yes we’re alllll dodgin’” is *chef’s kiss*. And how he invokes his Appalachian Springesque solemn strings just for the “he’ll preach you the gospel” section

Bought this set during the recent sudden finding of 13 sets (thank you @Jay for pointing that out!) - a total grail for me having been late to JW expanded releases and the world of Varese, Intrada and LLL at the end of 2018. Lots of catching up to do and thank goodness for some more disposable income as we can't go on overseas holidays etc. Anyway it arrived, and I read through every page of this thread (45 pages, blame that on having to stay in all the time) and I confess I laughed so much when you all discovered the 'no teeth' booklet!

I like your setup, it's almost like mine! Each time I pick a CD, it's like playing this game :

FSM's Ben Hur box is back in stock! https://www1.screenarchives.com/title_detail.cfm/ID/17340/BEN-HUR-5-CD/

Album Chicken in the Pot >> Film Version Chicken in the Pot

Sounds about right. Got the impression there won't be a non-vocal version from Powell's comment. Looking at that cue list, 35 tracks checks out when you focus on the cue slates (inserts will be combined into the cues). I suspect the breakdown will look something like this: Track # Cues Track Title 1 The Han Solo Theme The Adventures of Han 2 1M1 v2D “Opening” 1M1 Meet Han [Film Version] 1M1 v2D Insert “Opening” 1M1 v2F Insert “Opening” 3 1M2-3 v2L “Bunk-Proxima” 1M2 Bunk-Proxima 1M2-3 v2L Insert 030918 “Bunk-Proxima” 4 1M4-5 v3O “Corellia Chase” 1M4 Corellia Chase [Film Version] 1M4-5 v3V Fix “Corellia Chase” 1M4-5 v3Y Insert “Corellia Chase” 5 1M6-7 v1P “Spaceport” 1M5 Spaceport [Film Version] 1M6-7 v1P Insert 030718 “Spaceport” 1M6-7 v1Q Overlay “Spaceport” 6 1M8 v1e “Gonna Be a Pilot” 1M8-9 Gonna be a Pilot / Mimbam Battle 1M9 “Imperial March” 1M10A v3D “Mimbam Battle” 1M10B v3D “Mimbam Battle” 7 1M11 v2B “Blackmail” 1M11 Blackmail 8 2M12 v2D “The Beast” 2M12 The Beast 2M12 v2D Overlay “The Beast” 9 2M13 v1I “Chewie Untamed” 2M13 Chewie Untamed 2M13 v1J Insert “Chewie Untamed” 10 2M14 v1C “Surveying Conveyex” 2M14 Surveying Conveyex 2M14 v1C Insert 030718 “Surveying Conveyex” 11 2M15 v2A (Intro) 2M15-16 Train Heist [Film Version] 2M15 v2A “Campfire” 2M16A v1Q “Conveyex” 2M16A v1Q Insert 030918 “Conveyex” 2M16B v2K “Enfys Nest Arrives” 2M16B v2M Insert “Enfys Nest Arrives” 2M16C v1G “Failed Heist” 2M16C v1G Insert 030718 “Failed Heist” 2M16C v1G Insert 2 “Failed Heist” 12 3M17 v2C “Walk To Dryden’s” 3M17 Walk to Dryden's 13 3M18S v2B “Yacht Duet” 3M18 Chicken in the Pot [Film Version] 14 3M19 v1D “Han & Qi’Ra Reunite” 3M18 Han & Qi-Ra Reuinte 3M19 v1D Insert 030918 “Han & Qi’Ra Reunite” 15 3M21-22-23 v1N “Dryden - Patience - Pilot” 3M21 Dryden / Patience / Pilot 3M21-22-23 v1N Insert 030818 “Dryden - Patience - Pilot” 16 3M24 v3D “Card Room” 3M24-25 Card Room / Sabacc Game 3M25 v1L “Sabacc Game” 17 3M26 v1N “L3 & Falcon” 3M26 L3 & Falcon 3M26 v1N Overlay “L3 & Falcon” 18 4M27 v1G “Family Stories” 4M27 Family Stories 19 4M28 v1J “Lando’s Closet” 4M28 Lando’s Closet 20 4M29 v1E “Trust No One” 4M29 Trust No One 21 4M30A v1M “Mines Pt. 1 - Heist” 4M30 Mine Mission [Film Version] 4M30A v1Q Insert “Mines Pt. 1 - Heist” 4M30B v4C “Mines Pt. 2 - Finding Coaxium” 4M30B v4F Insert “Mines Pt. 2 - Finding Coaxium” 4M30B v4F Overlay “Mines Pt. 2 - Finding Coaxium” 5M30C v8I “Mines Pt. 3 - Break-out” 5M31 v6G “L3’s Sacrifice” 5M31 v6H Insert “L3’s Sacrifice” 22 5M32 v2B “Kessel Run Pt. 1 - TIE Chase” 5M32 The Kessel Run 5M32 v2B Overlay 1 “Kessel Run Pt. 1 - TIE Chase” 5M32 v2B Overlay 2 “Kessel Run Pt. 1 - TIE Chase” 5M33A v2M “Kessel Run Pt. 2 - Monster” 5M33B v3C “Kessel Run Pt. 2 - Maw” 5M33C v2F “Kessel Run Pt. 2 - Landing” 23 6M34 v1O “Savareen Tent” 6M34 Savareen Tent 24 6M35 v1L “Emfy’s Standoff” 6M35 Enfys Standoff 25 6M37-38 v3A “Joining the Cause” 6M37-38 Joining the Cause 26 6M39-40 v3E “Real Thing Double Cross” 6M39-40 Real Thing Double Cross 27 6M41-42A v2F “Dryden Fight” 6M41-42 Dryden Fight 6M41-42A v2G Insert “Dryden Fight” 6M41-42A v2G Overlay “Dryden Fight” 28 7M42B-43 v1Q “Skype Showdown” 7M42 Showdown 7M42B-43 v1R Overlay “Skype Showdown” 29 7M44A-B v1G “Beckett Departs” 7M44 Beckett Departs 7M44B v1E Alt “Qi’Ra Departs” 30 7M45 v1E “Parting Ways” 7M45-48 Parting Ways / To Tatooine 7M47-48 v1K “To Tatooine” 31 End Credits End Credits 32 Imperial Theme - Edwardian Style ? 33 Yacht Steel Drum Source ? 34 Jungle Drums Source ? 35 Extra Alternate/Source? ? The 4 x 10 minute tracks will probably be the complete versions of Train Heist, Mine Mission, Kessel Run and Finale & End Credits. I'm guessing all the source music will be relegated to the end, rather than mixed in with the film score.

Reposted from another thread for sake of better relevance:

When New Line originally released the theatrical FOTR on DVD, they announced at the time there would be Extended Editions coming, and have done the same for every release since. I think it's a good policy, and refreshingly honest. And apparently hasn't hurt sales at all.

Yea what makes it so good, and worthwhile to have, is the completely different energy it has compared to the one from the first movie. The first movie was pushing the magical aspects, while this is more streamlined and adventurous, more in-line with the rest of the Azkaban score

That's not so much the issue, it's more like you refuse to try anything on a pizza that has the same color or shape of a sardine, regardless of the flavor I apologize for that, I should not have made any personal judgments. The thing that gets me, though, it's your almost absolute dismissal of expanded editions on principle, disregarding a whole plethora of nuance. You are potentially depriving yourself of musical enjoyment and discovery. Mind you, I agree with you that often shorter albums do serve some scores better. That some composers know, better than most, how to properly assemble an album to showcase his musical intentions. That there's an unhealthy obsession with unearthing and having available everything single second of music recorded for a given score. We are in absolute agreement there. However, there are frequent nuanced situations: - The OST album and the expansion offer totally different, but valid, listening experiences, without one replacing the other. Example: E.T., Jaws - The OST album was severely lacking in the way it presented the score (due to various factors, like short length, odd sequencing, lacking in sound quality, over-reliance on the inclusion of pop songs for commercial purposes, etc.), and only through the expanded edition did the score really come to fruition. Examples: The Shadow, A.I. - The OST already presented a good distillation of the score and great listening experience, but the expanded edition made the whole architecture of the score come to life, to the point tracks already included on the OST are given a new whole dimension due to the context that surrounds them. Examples: Dracula, The Lost World. - The OST was a great album, but the score is simply too sprawling and plentiful in riches to the be contained to a single cd. Examples: The Empire Strikes Back, The Phantom Menace, Hook. - The OST was a perfect summation of the score and the extra music on the expanded edition, while interesting on its own, did not improve the listening experience. Examples: Ran, Batman, Jurassic Park. - The OST was a great album, but the choice of tracks included was influenced by other factors besides purely musical flow, so a better album assembly might have been possible had all the elements been available for inclusion. Examples: Sphere. - The OST was a great album assembly and the expanded score actually made the score seem worse. Examples: Masada, The Black Cauldron, The Fury. - The OST was a good presentation of the score and listening experience, but the expanded edition, while not being a perfect listening experience on its own, presents enough valid extra material for one's own improved playlist. Examples: Bram Stoker's Dracula, The Thin Red Line. - The expanded edition presents alternates that are great to listen on their own, even when completely removed from an album program. Examples: The Matrix Reloaded, Blade Runner. This is just meant to illustrate the plethora of nuances that might exist when discussing the merits and shortcomings of expanded editions. There can be no general stance or answer that applies to all situations.

I picked him up on this on the last round of this neverending debate here: https://www.jwfan.com/forums/index.php?/topic/18489-the-official-varese-sarabande-thread/&do=findComment&comment=1704251 In a nutshell - he not only dislikes expanded releases, but actively wishes they wouldn't happen, and that the rest of us weren't able to buy additional music. Yet when I pick him up on this unheard-of selfishness, I'm apparently attacking his ability to have 'preferences'. Mehhhh.

It depends but since composers are work for hire deals I would think those rules do not apply here.

Give the man a rest - it's only soundtracks.

One of my favorite sections in a video game is when

UK. Karol

They would've done a completely new colour grade due to HDR, so... hopefully!

Imagine the dust.

Halloween or not? Musically, always yes!

Ordered this and The Matrix. I was on the fence about buying one of the Omni publications due to the astronomical international shipping rate, but this absolutely sealed the deal, and luckily I can claim it all on tax. The hefty price tag is worth having a physical copy in my hands, with all the annotations and scribbles I want to make. I've seen a lot of the "leaked" pdfs of countless film scores and nothing compares to having a well-engraved, tangible version. I hope more studios see the value of releasing these scores. It may not be particularly profitable, but the cultural and educational value is immeasurable. I imagine we'll see Williams scores released like this some day, though likely not any time soon. Star Wars has long since entered the classical canon and deserves to be up on the shelf with the great works of Beethoven, Wagner, Haydn et al.

Oh, I agree, HP1 is undoubtedly a classic.

Of course. Absolutely! Er...what?

Ugggggghhhh, why'djall keep posting about this!? Now I have to get this release. This will be the first time I ever purchased two specialty label releases in one year!

My ultimate Holy Grail would be the Complete Young Indiana Jones soundtracks. Broken up into 3 volumes/boxsets like the series. There's lots of good music missing from those 4 cds they put out initially. Maybe if Indy 5 ever gets made this has a chance.

And the end credits, which although we can hear it cleanly in the film, is still technically unreleased. Come on November, hurry it up!

That's a really low sales tax. Austria's is 20% on CDs (Germany is 19% I believe). Things will become even more fun for us Europeans next year (I believe) when the minimum amount for an order to qualify for sales tax is dropped and everything qualifies. Currently, some sellers beat the system by not labeling the correct amount on the parcel. (Also, the customs office lets some parcels through even if they're labeled above the limit, while they intercept others and ask for an official invoice if they're suspicious even if they're labeled below the limit; I've never found a real pattern for that). I'm not complaining (much) about the tax per se (it has a purpose, and I'd have to pay if if I bought the CD locally as well), but I am complaining that it applies also to the shipping charge (which from the US to Europe is often significant) and about the fact that I have to pay a handling fee (something between €7 and €20) on top of that for the fact that I often have to wait several weeks longer for the customs office to process my order. I expect the Brits will feel the effect of the tax quite a bit once Brexit is complete.

These arrived today

Powell is doing a final review of the deluxe edition https://www.instagram.com/stories/johnj_powell

I knew I'd seen this album mentioned elsewhere... as I commented in another thread, this is a really great, but unusual album with some interesting, left field choices, really well performed.

Rey's theme has elements of most of the major character's themes; the Emperor's theme, Darth Vader's theme, the Force theme. It was done so because the fact is that no one knew who Rey was going to end up being, so to cover their asses they clearly asked John to write Rey's theme around other familiar themes. They did not think that far ahead, and they did not know for sure that Palpatine would be involved until they started working on Episode 9. To assume that they had a solid plan in place after all the back-and-forth that happened throughout the trilogy, you'd have to be absolutely insane.

Nice! Especially since Gia composed their respective previous films.

That would indeed be a highlight!

It's the theme itself, and by that I mean the most complete form that can be considered self-contained (musically, I mean an eight-bar theme). Additions can be understood as embellishments to this self-contained core, or that core can be part of a larger structure, like when it's an A section to a larger ABA. So for TLW, this core is what's heard between 0:13 and 0:34, which has a structure of ABCD, as I mentioned. It's relatively rare in his main themes: What I find fascinating is how different this is from most of his other main themes. In Williams' more fantasy-based scores generally, a common structure for the main themes is AA' AB (or AA' AA'). Hedwig's theme is a great example of this one in its AA' AB form. This of course is the A section of a larger form that goes on to a B section. The part I mean is from 0:00-0:18 below: Another common structure in his fantasy-based scores is AA A'B. Take, for example, the full form of the Mountain Theme from CE3K heard in the end credits (from 0:50-1:32 below):

Why does Jurassic Park get to have all the attention?

There you go, you lazy fellow!

Yes they are great, but that's not the point; it's more that I wish all labels would follow in Intrada's footsteps and put HQ cover art officially on their official site. In a case like this where there's one piece of art for the outer cover and then two more for the booklet cover, I wish an official high quality file from Titus was made officially available on their site. That's all.

It's coarse and rough and irritating and it gets everywhere?

Ordered directly from LLL. #123049. And in a terrible mood right now. I tend to get way overly anxious about things -- I'm certainly not a YOLO kind of person, let's put it that way -- and, Jesus, has this giant price been rough on my mind. $70 with shipping. In particular, I'm feeling like I'm headed down a dark path financially. I've never really wanted material things throughout my life. Essentially, I've never spent any of the money I've collected over the years, preferring to save it. Until today. I'll get plenty of listens out of this set, there's no question. And it's good to treat yourself every once in a while. But I feel like I'm headed down the specialty label soundtrack-collecting path, a very costly one. $30 here, $25 there... It adds up. For the first time in my life, I really have that "got to get it" feeling with material things, perhaps engendered by the "I want to listen to every Williams score in complete form eventually" idea. And, I reason, if I don't buy specialty label releases, they will sell out and I will have to pirate them eventually when I want to hear them since I'll want to hear all Williams scores, therefore I should buy them now. Perhaps I need to step back and control my materialistic and "completist" urge (not to own a CD of every score, but to experience every one in complete form). Do I really WANT this stuff, or is it just my completist urge? Or perhaps I'm being too hard on myself. And, of course, it's possible that many important expansions will happen in the next few years, meaning that I won't really have to worry about spending money on soundtracks as an adult.