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I’m not an economist, but my understanding is that a dollar available today is worth more than a dollar promised tomorrow. The people who buy soundtrack expansions probably skew older than the rest of the population and for sure the people for whom Indy and OT Star Wars form a strong nostalgic connection are older than the rest of the population. And with nostalgia running huge in this generally shitty era, a smart company should recognize there is no better time than now to sell older people things that reminds them of better days—things like these expanded soundtracks. Honestly, what the fuck is keeping these scores from being expanded? Spite? Total ignorance of the content they have stored in some stupid vault in Burbank or wherever? Indifference? If it’s not that, then what better time are they waiting for? Disney, if you’re reading this, pull the damn trigger already. The stars are aligned to get the job done right, and they ain’t staying aligned forever. Charge whatever you want for these—you know we will pay it. We’ll skip our fucking rent if we need to, but we’ll pay it, and if you don’t know that, you’re more clueless than we feared. Otherwise, we’re going to have to start a Twitter campaign or something to shame you into doing this, since it’s probably the only thing you’ll respond to.

They want to wait for the tapes to degrade more so it can have that "nice, natural vinyl sound".

I have the feeling John Williams wrote so many beautiful and complex music in the last 20 years, that I will need another 20 years to absorb it.

Damn, I was hoping a flier would be up.

Holkenborg's score is better than I expect, not the best in this series, but better than many non Ifukube Showa Godzilla score. The best Godzilla score to me is King of Monster. All Ifukube's works are great. The Michiru's works are very close the Ifukube's traditional sound too. Shin Godzilla is in fact typical Shirou Sagisu style. I think his new Evangelion movies score is better. Kow Otani's score has very cool variation of Ifukube's theme, his Garmera's score is worth listen to as well.

Available digitally:

SeaQuest DSV: The Deluxe Edition available digitally: Looney Tunes: Back In Action: The Deluxe Edition available digitally: Wild Wild West: The Deluxe Edition available digitally: U.S. Marshals: The Deluxe Edition available digitally: Babe: The Deluxe Edition available digitally:

Very sad Now do you think he would answer too if we were asking about Star Wars? I don't think we should ask though, don't want to be disappointed.

The definition of concerto isn't set in stone, besides being a work for soloist and ensemble. The Classical (1700s) and Romantic (1800s) period pretty much defined what is still the contemporary notion of the concerto, i.e. a major work for soloist and orchestra, usually in three contrasting movements (fast-slow-fast, or slow-fast-slow, in most cases) where thematic development is showcased by the soloist with a set of variations and a virtuosic element often at the forefront in the writing. Finally, they are almost always written witha. specific soloist in mind. Of course many composers went in different directions and didn't follow these rules in strict formal ways, but overall many works for soloist and orchestra follow these aesthetic principles. There are different forms which sometimes cross the line between borders (or purposefully play with the definition of the concerto), such as symphonic works with extended obbligato solo part, or written in concertante style. Imho, TreeSong could very well be labeled as a concerto, but Williams didn't I guess for several reasons. He probably felt that the work doesn't have the same kind of formal structure of the classic violin concertos. Plus, it has a very clear external, almost programmatic reference. However, pieces like the Horn Concerto, or the Bassoon Concerto also have very peculiar structures (both in 5 movements, albeit shorter, instead of three) and an external reference (nature, poems) yet he did call them Concertos.

No worries, I got my copy shortly before it went OOP!

Schlock pop?

Found what appears to be the original cue titles in the SABAM repertoire:

CUTTHROAT is great, but it basically only has one gear -- full-on, swashbuckler action and romance for 70+ minutes (on the OST). WATERWORLD, vice versa, has many more aspects. There's the swashbuckling hero theme here too, but it also has brilliant suspense music, gorgeous world music textures, awe-and-wonder/ABYSS-like segments and - most importantly - iconic "New Age" music with sophistication that just melts me every time. "Swimming" remains one of greatest film music cues JNH has ever written. And to think this was a replacement score -- goes to show how brilliant scores can be with short time frames (ALIENS, anyone?). It remains one of the absolute pillars or cornerstones of my entire film music existence. In my interview a few years ago, I asked JNH if there was room and opportunity to write a score like WATERWORLD these days, and he said "yes". I'm still waiting, though.

WATERWORLD wins both categories easily. I love the CUTTHROAT score, but the film is pants (I dig Renny Harlin, but he's done much better movies). WATERWORLD, vice versa, is one of the most underrated films of the 90s. Probably seen it some 20 times. It's also one of my top 10 scores of all time. CUTTHROAT may break the top 50, but only barely.

I am actually doing so. You are right. If I had all my CDs right now, I probably wouldn't.

Memoirs of a Geisha by John Williams Lincoln by John Williams I've decided today to revisit Williams' most intimist scores from the XXIst (if I can call them this way). They are incredible! Really hope he'll we able to write another one in the future.

Better compose something then.

Does your cut of Hobbit leave out Thranduil or

I like to think this is the dumbest superhero movie ever made... Just watch this, at least it should make you laugh about the script

The long studies of Bach & Co. in strict german conservatories paid off for Dr. Rózsa - in Hollywood, of all places.

Karol

It's that time of the year again, and unfailingly i drag out my all-time film music easter favourites of blessed Hollywood at its best. Here you get the majestic and the solemn side by side and it ain't get much better than that.

WONDER WOMAN 1984 Maybe, I'm just the wrong demographic for these films but .... this film sucked! Gal is drop dead gorgeous but where's the script? No more comic book movies that dont feature BATMAN!😵😡

Yes, good movie, good acting, but somehow it's not something I will watch again, I think. There are only two scenes that stuck in my mind. The very first scene with his kid on a boat. That acting was extremely natural. In fact, it probably was real. And much later in the movie when Affleck accidentally meets his ex again on the street.

Someone did mention this when I told them, and my response was “I feel like that’s one thing he gets asked about a lot since it’s SW, and I feel like(which I could be wrong)he might not be asked about Indy as much”. But also, Manakin Skywalker pointed out that even if he was working on it, he couldn’t tell us, since he’s bound by a contract.

Well Kamen has been announced for the April 6th slot, hopefully Williams is next? Fingers crossed!! It’s been 5 months + since WOTW was announced. Time Tunnel doesn’t count Jay 😂

Licence to Kill 4K UHD The most Floridian Bond and one of the best

"...what on earth are they waiting for?" I guess most of the entertainment industry doesn't quite get the " urgency" of the situation. 😎

'Discussed but not in the works right now' has to be one of the most frustrating and patronising states of affairs for a landmark JW score. (patronising on Disney's part, of course, not MM) Unless they're waiting for a mythical 5th movie to come out and tie in with complete versions... what on earth are they waiting for? The only situation I can fathom is either Disney insists on doing it themselves but has other priorities (in which case they need to pull their heads out of their asses and let a speciality label do it), or JW for some reason doesn't want them expanded further.

Available digitally:

I'll consider it if they do put additional music on it, but if it's just a pressing of the album then at least anyone who hadn't yet bought it gets a CD.

Man, just stop killing him! Agree. Just was hoping for some april fool where he said the contrary.

For now I'm just happy that they have been discussed. Surely a question of "when" and not "if"

I'd expect it to primarily be the OST program, but let's hope Intrada is able to add some bonus tracks after that! And then do the same to Solo: Deluxe!

This morning, unfortunately. But hey, the silver lining is he’s discussed it. So it has been talked about, so that should be hopeful.

https://www.facebook.com/1689850014571627/posts/2839994909557126/

At the beginning I though it was a low cost costume but apparently not

Don't forget the most important defining feature of the concerto from the classical era and onwards - the sonata form of the first movement.

Love Guardians Vol. 1 but Vol.2 was a disappointment for me. It suffered a bit from 'wanting to do too much'. The jokes in The Suicide Squad trailers aren't very promising either. But I'm sure the world disagrees with me.

The concerto is atonal by definition of JW himself in the description of the piece, which is technically true, as it doesn't have a set key signature (C major, D minor, F Sharp major etc), but it moves freely, like much of contemporary orchestral music. Also, Williams described the style of the piece as "romantic atonality" in an interview from the 1980s.

He, he. I know you jest, but he was 17 at the time and studied at the Royal College of Music in London. There was another jazz pianist at the time also called John Williams, but I think it's fairly certain this is OUR Williams.

We need to tread carefully, maybe it's JW the guitarist.

Today's piano selection should be fairly familiar to all of you - Williams playing piano on his own score to IMAGES. In the opening cue ("In Search of Unicorns"), there's so much happening. Williams' elegant piano waltz is the fairytale music as Cathryn writes/narrates from her book, but is suddenly counterpointed by sharp dissonance (performed by Stomu Yamashta) as Altman cuts to everyday objects - real life intruding on the comfort of her imagined world.

This batch won't disappoint. One last thing....Cary deserves a lot of props for doing the things some wouldn't. When I helped him plan out the releases we wanted to get expanded, we looked at what you all kept asking for. Sometimes, we overestimate interest, others it's a situation where we felt fans of a composer would love to see an expanded version of a score (say like John Carpenter's Village of the Damned). Cary taught me everything I know about licensing, publishing and everything else that I was responsible in managing, as an executive at Varese, taught me how a label runs day to day. Thank Cary Mansfield...he's a good man who truly cares about what fans want to buy.

Williams tracks only: DISC 1 RENDEZVOUS WITH YESTERDAY – Johnny Williams 1. Main Title :40 2. Disappearing Act 1:03 3. To The Tunnel 3:27 4. This Way Senator / Tony Enters Machine 2:55 5. Tony’s First Trip :59 6. The Titanic / Tony’s Tall Tale 2:47 7. State Room / Althea’s Attack / Making Contact 1:56 8. Doug’s Countdown 1:15 9. The Boiler Room :40 10. Doug’s Arrival / Hose Nose 2:29 11. The Telegraph / Approaching The Berg 1:47 12. The Iceberg Cometh 3:57 13. Time Transfer 5:14 14. The Jungle 1:26 15. Bumper :06 Total Score Time: 31:10 DISC 2 1. Tony’s First Trip (Show Dub) :52 Music by J. Williams DISC 3 1. Main Title (With Overlay) :39 Music by J. Williams Additional Music RENDEZVOUS WITH YESTERDAY 31. Disappearing Act (Broadcast Version) 1:03 32. Tony Enters Machine (Alternate Opening) :58 33. Titanic Trot 3:10 34. The Jungle (Alternate Take) 1:26 39. THE TIME TUNNEL End Credits :52 TOTAL JOHN WILLIAMS TIME - 40:10

Why isn’t there a score category or is there any point giving it to Lorne Balfe every year? will the Snyder Cut be eligible for these next year?

Let's just put it this way. If the audience response to The Last Jedi didn't stop Disney, then the audience response to this film won't stop WB.