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Black Friday 2020: All titles are Giacchino scores... 😏

Of course Of course

I honestly believe that every score ever written should be available in complete form to consumers. So none.

Did you also discuss cover art?

Oh. I overread the "not". So I just mean the opposite of what I wrote before.

I'll be asleep when they are announced but always love waking up and seeing what they are! I'll never forget waking up too see The Lost World was announced, a total surprise that MM had not let a word slip about even though I had begun to help him in other titles. Amazing. And then the three years in a row of Neil's perfect DAD, TWINE, and Stargate expansions were legendary too. Can't wait to see what the future brings

JOKER is that rare , innovative, score that deserves the acclaim it received. That's what I ' love' about Shark: he is so open to new approaches to film scoring , unlike his hidebound comrades.;)

Meh, everyone knows Joker is gonna win. They'll invent the Nobel Prize for Best Score just to give another award to Joker.

https://buysoundtrax.myshopify.com/collections/dragons-domain-records-1/products/t-rex-back-to-the-cretaceous-original-soundtrack-by-william-ross 1. Main Title (3:28) 2. Ally (1:26) 3. Liz Falls (1:55) 4. Finding the Egg (1:52) 5. Ally and Dad (2:58) 6. Journey to the Cretaceous (5:36) 7. Meeting Charles Knight (2:04) 8. Kiss and a Squeeze (2:00) 9. Meeting Barnum Brown (4:38) 10. Meeting T-Rex (4:38) 11. Finale (3:57) Total Time: 34:58 No, I don't work for them, haha. But I am probably the person who is the most excited for this. Already ordered my copy and listened to the instant digital download. Sounds fantastic! Feels like it has more life than the promo album had. I thought people here would be interested in this release if only for the chance to have a score signed by William Ross (first 100 orders), the REAL composer of Harry Potter and the Chamber of Secrets! I kid, I kid... but seriously, I'm sure you all know how awesome he is. I actually am very familiar with this score, having owned the promo for years. As you all can tell I'm a dinosaur nut, so of course I saw the film as a kid when it was in IMAX theaters. At my age I loved the premise of it... this sort of Night At The Museum adventure, but this was before any of those movies. The VFX are often bit crude, even for back then unfortunately. And for many there wasn't enough screentime of actual dinosaurs to justify paying $20 to see it, haha! But there was enough for me at the time. Again it was the premise that really was just so cool to me. Clearly the score was the best thing about the film, though. It stood out to me immediately when I saw it, from the propulsive main title theme, to the calming family theme, the scary and intense moments for when the dinosaurs were there, and even a fun little source song that is meant to feel straight out of the 'olden times. It's a fun little score for a mostly forgotten film, now. (Despite having a DVD release) Any fan of William Ross, IMAX scores, and lush 90s scores will dig this. EDIT: BTW... if the owner of the company sees this post, I have to ask: Who sang the song "Kiss and a Squeeze"? The liner notes credit who composed it with Ross, but did he sing it, too? I actually can't find that info. online anywhere, either!

Listening to great scores for bad films is only a thing with hardcore film score fans like ourselves. General audiences listen to soundtracks to relive stories they love, hence the new Mando soundtrack getting more listens

I have pushed this idea. Hoping they listen.

Meistersinger has the (in)famous final speech by Hans Sachs that's in part excessively nationalistic (as is the finale of Lohengrin, for that matter). That's obviously not so unusual for Wagner's time, but all the same was a major contributing factor to the 20th century's early catastrophes, and Wagner so strongly emphasising it as part of his "final message" of the opera is at the very least not quite kosher. I believe it is sometimes shortened for performances by excising a verse. Here's Wikipedia's translation: Where it gets complicated of course is that the same speech also contains artistically admirable sentiments that sum up the theme of the entire opera: The conflict between the conservative old masters who view anything new as entirely wrong and harmful and the youthful Walther von Stolzing who completely rejects their rules and wisdom without understanding it. Sachs, who alone of the Meistersinger has been supportive of Walther's free spirit and bending (or rather ignorantly breaking) of the rules, now admonishes him to heed their wisdom. A portion of the speech ("Ehrt eure deutschen Meister, dann bannt ihr gute Geister" - "Honour your German masters, then you will conjure up good spirits") even graces the facade of Vienna's Konzerthaus:

Even if nothing of the releases counts as 'jaw dropping' it's still always an exciting part of BF, to log on and see what LLL has. Even if it doesn't interest me, I appreciate the look of a nicely put together score and there's always someone out there who has an obscure holy grail and might have their day made. I look forward to this Friday (and to whatever awesomeness happens in early 2021).

Because Godzilla is my personal favorite David Arnold score, I guess. The LLL was a godsend. Yavar

https://www.classical-music.com/magazine/issues/christmas-2020/ In the Christmas 2020 issue of BBC Music Magazine, we meet the iconic film composer John Williams to reflect on his illustrious career in Hollywood, his concert works and the thrills of conducting the Vienna Philharmonic Merry Christmas! In this month’s issue, we meet the iconic film composer John Williams to reflect on his long and prosperous career in Hollywood, some of his greatest scores and concert music and his thrilling forays into conducting.

Rogue One is a boring and repetitive score, Solo is a fun and exciting score!

A lot of my favorite material is Powell's, so at least for me it'd be the same.

My attempt at trying to piece together the original Mimban Battle sequence. Obviously there's no way to know exactly how the original scenes were edited, but I tried. Not too much editing was necessary; for part 1 I needed to edit out about 1-2 seconds of footage (I randomly selected a very short shot), for part 2 I needed to simply extend the transition between the opening portion and the latter portion since the second half doesn't sync correctly if left unedited. Mimban Battle Not as significant, but I also restored the Oksana Floren cue. Not nearly as edited in the film, but there are a few small cuts and loops here and there, most notably when the Pike character is revealed. Oksana Floren, etc.

I feel triggered by this. Karol

Thats rubbish. He already made it clear that there are no exciting titles numerous times at FSM about this batch which clearly meant no John Williams this time around because we have all have been expecting a John Williams titles since the last 3- 4 years. And for the record he has not indicated or told me whats coming either (which obviously even if he did tell me, I wouldn't even tell or disclose publicly) On the otherhand yet you continue to patronize members shamelessly across the board; even if its MV. Take a chill pill. P. S. Its 'customer' base not costumer. 😜

And Movement 4 moved in the front because that's the one the average schmuck knows and expects to hear.

There was a time where I would buy the expansions nonstop for any score that I liked, but more often than not, my response after hearing the expansion was "well, I didn't need all that." Now I pretty much only buy premiere releases and expansions of Williams and Elfman. Even on those, I'm about 50/50 on whether I prefer the OST or the expansion. Williams examples - Jaws, 1941, Empire of the Sun, Home Alone, Home Alone 2, Schindler's List (rather than an integrated/reordered one with what we got), Rosewood, A.I. Minority Report, Harry Potters 2-3, War of the Worlds... I'll echo Bespin - Edward Scissorhands doesn't gain anything from the expansion. Same with Elfman's first Batman (but not the second), Conan the Barbarian is another one which is only listenable to me in the OST configuration, as I indicated in a different recent thread. Certain scores that I do really enjoy, I didn't even bother buying the expansions. I like every James Bond score, but much to @Disco Stu's recent chagrin, I would not buy an expansion of any of them except Barry ones. Titanic, Apollo 13, Legends of the Fall, The Mummy and The Mummy Returns are some other recent examples. Those are on my maybe list - If prices or sales get good enough, I may dip into those. But typically I'd rather spend money on a release of a score I've never heard than an expansion of a score when the highlights are already available.

I thought no one would ever ask! https://docs.google.com/spreadsheets/d/1w-sgtqBNfS7NkHUDoHNoiN7LQcyhtbmQ1IXkrEl5ktI/ Enjoy! It wasn't on the last release, however, it's just an edit of a piece of "Buffoons Ambush Marian" so no unreleased * needed

I think it's a great score, but I have to put Williams' first, that's just the way it is. Says so on my membership card...

I believe that Amer, who actually listened to the conversation, is the best to judge that.

You mean about a certain 30th Anniversary release??. NOPE. 😜

All of them, more or less. TM

And both closely collaborated with Jewish musicians! When I was studying the Romantic Era in college, my professor asked the class why Wagner was so controversial. I was the only one who raised his hand. There can be no doubt that Wagner helped so the seeds of German nationalism and emit- semitism that would flower decades later. But, he never killed anybody and can't be directly accused of anything beyond hateful bigotry. Strauss tried to reclaim his royalties after WWII, from Allied nations. And, glorified the Nietzche " ubermensch " in his famous tone poem. And, isn't there a famous poet who was actually jailed during the war for supporting Nazism? Iirc he is still taught in poetry classes: Ezra Pound.

@BryonDavis Can you get us a fully expanded and remastered Omen trilogy box set?

I find it interesting how so many seem to know the rights to Varese releases. I am quite certain that VS has rights for Final Conflict. All I will say on this.

The real question is, was Batu an uncredited co-composer on JW's theme for Batuu?

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Congratulations Maestro! BEST SCORE SOUNDTRACK FOR VISUAL MEDIA Ad Astra, Max Richter Becoming, Kamasi Washington Joker, Hildur Guðnadóttir 1917, Thomas Newman Star Wars: The Rise of Skywalker, John Williams https://www.etonline.com/2021-grammy-awards-nominations-the-full-list-156517 https://www.grammy.com/grammys/awards/63rd-annual-grammy-awards-2020 This is Williams' 72nd nomination - he has a chance to win the his 26th statuette. He has as many nominations as Henry Mancini now. Only Quincy Jones (80), Paul McCartney (78), Jay Z (77), Georg Solti (74) and Stevie Wonder (74) have more.

Science fiction, of course. I'm a geekboy, after all. But peculiar selection of genres. 'Animation' isn't really a genre, for example. And something as specific as 'sports' get its own classification, while 'comedy' doesn't? That wacky AFI!

I suggest to try Rian Johnson, he looks like an accessible guy.

These two are great: https://rvwsociety.com/earth-and-sky/ https://rvwsociety.com/the-forgotten-rite/ Also most of the albums with choral music. I'm less keen on the reductions for piano and vocals. I also prefer other compilations for his film music than Albion's, like the one from Chandos.

Congrats to JW Always think of this bit whenever he racks up another nom lol

Another fan here. Don't miss this release!

Yeah it's interesting hey? Just reiterates that labels should make these releases as accessible as possible, no matter what the consumer's personal preference. I genuinely hope sales are strong and it catches someone's eye at Disney. I'm not exactly buoyed by the YouTube views so far though (especially compared to the numbers the new Mandalorian soundtrack is pulling). Doesn't help when Disney Records didn't even bother posting a "now available" update for the score on their social media pages, unlike their slavish promotion of all things Mandalorian. Incredibly disappointing on their part.

Yes, LLL's Black Friday batches are always the soundtrack event of the year for me, even if there are no titles I want, simply because their production values are always superb and I enjoy the fun of the announcements (and everyone's reactions).

Fans of either the Force theme or Crimson Tide, here comes daddy! There is a Dick Burton series from the early 80's that's entertaining enough and helps you to understand the troubled political history of a then-torn Germany.

Yes to the former. The latter was Larry Groupé. But Beltrami did score the excellent 3:10 to Yuma (2007) if you want to talk remakes. Yavar

Mmmm Thor... I mean... could he be THAT Thor?

I do have this old article (about the film) in Norwegian, but it's much too short and I'm not too pleased with it otherwise. Needs a revision. But anyway: https://montages.no/2010/01/a-i-artificial-intelligence-2001/

Thanks a lot Thor, nice to see more serious replies after all. If you ever have the time to go on about ‘why’ I’m very curious to hear (or even if you’ve written something in Norwegian before). I noticed that John Mauceri considers it JW’s greatest ‘modern’ score and I’ve read multiple music critics praising the score even when they admitted that they were not a fan of Williams and his usual blockbuster scores. That’s what I mainly find fascinating and I wonder how this general consensus came to be.

What's amazing about this score is that many of its best moments (revealed even more clearly in this expansion) are instances of Powell doing something interesting with some element of Williams' Solo theme. It's like the entire composition was Matrix-uploaded into Powell's brain, as second-nature to his thinking as anything he'd written for the film himself. Almost every cue has an example of this somewhere. Heck, even the transformation of the Imperial March for "Mimban" is a great example. I really really hope we get another John Powell Star Wars score―preferably with another Williams contribution.

The question is, when in 2021 will it be obvious

What always astounds me is the musicianship of these incredible session players. I mean how much rehearsal would they get for one cue? The music is so multifaceted and urgent but everything is so tight. And I don't mean just this score. Their unerring ability to just pick something up and make it sound like this leaves me in total awe.

Plenty of rock acts and artists who have been inspired by Morricone. There's also Metallica, Muse, Radiohead, Goldfrapp and Portishead, for example.