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Mike is not the type of person who makes inside jokes on the forums, nor one who likes to drop intricate hints to suggest what title is coming or what projects he's working on. He knows very well that virtually *everything* he writes publicly on boards and social media is going to be scrutinized *a lot* in search of clues. I suggest everyone to patiently wait and enjoy all the fruits of his hard work in the meantime (and no, this is not a hint that Hook is coming, sorry).

9 Star Wars, 4 Indiana Jones, all post 2005 Williams' score, The Oliver Stone Collection, The Sugarland Express and other never released score. I think we still have plenty of things to wait for and this just for JW.

I think you just read one part of one of the articles wrong, yes. The "rough stereo mix" you mention twice was not used for this album, or any prior album, or the film, or anything really - I think these rough mixes are used for someone to listen to in the future to know what's on the tape. Neil describes the 22-track multitrack as containing "digital edit code, a rough stereo mix, and the individual feeds for each section of the orchestra" Every take of every cue in that 22-track multitrack configuration was stored on both the 1" digital 3M 32-track, and the 2" analog 24-track. The only other thing on the 2" tape was a 60khz tone, while the 32-track 3M also contained the 60khz tone as well as the live 3-channel LCR mix. That 3-channel LCR mix (for every take of every cue) was ALSO recorded directly to 1/2" tape. That 1/2" containing the original LCR mix of every take of every cue is considered a 1st generation element and was found and transferred by Paramount at some point between 2009 and 2021, and Paramount's high-res digital transfer of that tape was used by Neil and Mike to form the new main program as well as all of the bonus tracks on disc 2 (other than the Craig Huxley track). Meanwhile back in '82, they took the digital LCR mix as captured on the 3M format and used that to make their performance edits and do anything else they needed to get the music ready for the film, AND the original soundtrack album. Then they dubbed SELECTED TAKES from this onto a different 1/2" tape than the one mentioned above. This would be considered a 2nd generation element, and transfer of that done in 2008/2009ish was the primary source of the 2009 FSM CD. This same tape was transferred fresh sometime between 2009 and 2021 by Paramount, and that high-res transfer became the source used for the album re-build on disc 2. So, to summarize, there are 4 elements considered 1st generation (every take of every cue): The 22-track multitrack stored directly on the 3M 1" digital (unused in 1982 and never used for any album since) The 22-track multitrack stored directly on the 2" analog tape (unused in 1982 and never used for any album since) The 3-track LCR live mix stored directly on the 3M 1" digital (used in 1982 to edit for the film and album, used to fill in some holes in the 2009 release) The 3-track LCR live mix stored directly on a 1/2" tape (unused in 1982, transferred recently, used as the primary source of the 2021 release) And one element considered 2nd generation (selected takes only) Selected takes dubbed from the 3-track LCR live mix as captured by the 3M machine onto a 1/2" tape (unused in 1982, used as the primary source of the 2009 release, and for the album rebuild on the 2021 release) I hope that makes sense!

I'd rather know something wasn't coming, than get wrongly hyped up every time a flyer was coming. It's like the Varese situation with Townson deciding some scores weren't good enough to release - I'd rather have known which those were, instead of continually hoping for something that wasn't coming.

MV Gerhard is the head of a film music label that releases scores from many composers across many eras of film-making. When he said, in February 2021, "We hope to have some new releases first week or two of March. After that, fingers crossed, a great flood shall wash upon the soundtrack marketplace unlike ever before...at least for a period of time" he was of course thinking about all the titles they had worked on that had gotten delayed that he knew would be big sellers. He knew they would be big sellers because fans of all different composers and eras of film making buy titles from his label! So subsequently, when every single month has brought another title that is selling multiple THOUSANDS of copies - X-Men in May! Always In June! Somewhere In Time in July! The Wrath of Khan in August! - his statement has been extremely accurate, and there are of course more titles of this nature yet to come, too! Everyone has different favorite composers, different eras of film scoring they are more drawn to, different genres and styles they prefer, etc etc. Just because titles that are not deep in your wheelhouse have been announced yet does not mean that MV made any sort of inaccurate or misleading statement when he said that.

Well JW did revisit TFA a few years later to write the Adagio, so... who knows! I'd probably rather he fleshed out TLJ first though. Concert arrangements of The Spark and The Fathiers would be incredible.

- It isn't complete. There is music you can hear in the film that isn't on it, as well as unused music that turned up in leaks that isn't on it...and even music on the original OST release that isn't on it! - It isn't chronological. This is subjective of course, and many may like the programming choices just fine, but many find it odd that some cues only appear as bonus tracks, or that album tracks that combined cues from two different parts of the movie were retained in the main program - The sound quality isn't consistent. The release fluctuates between 3 different sources: 2011 transfers of some sort of unearthed tapes, the album master, and the final film's music stem. That source sounds noticeably worse than the other two, even to people who don't normally notice these types of things, and contains volume fluctuations and edited passages as needed for the film itself - They didn't recreate the intended performance edits out of what they pulled from the 2011 transfers. So if JW recorded a cue 5 times and his approved version used in the film used 40 seconds of take 5, 10 seconds from take 3, 20 seconds from take 2, and then the rest from take 5, the same cue on the LLL set might just be take 5 throughout. That's a rough outline of it that hopefully gets the point across about why so many people desire a new edition done over from scratch by Mike.

Meanwhile, Goldsmith collectors be like:

John Powell says: "Get ready for another double release! 🎊🐉 Work on HTTYD2”Full Score Book” + “Deluxe Soundtrack Album” starts soon! Releasin early 2022! 5 Cat Studios Back Lot Music Omni Music Publishing" https://www.facebook.com/johnpowellmusic/posts/2936212296602053 https://www.instagram.com/p/CSruhpUJug9/

I'd say he was motivated and inspired working on it, based on the results. Which is not something you can say for every film, e.g. Crystal Skull. Although he does like to highlight pieces from both of those examples in his concerts. Plus there was the slew of Hook material on the 90s Spielberg/Williams album that would suggest he was happy at least with his own work.

Not sure I agree with that. Lord of the Rings has a much more accessible, audience friendly story. The issue with bringing Lord of the Rings to the screen was always one of technology. Once the technology was there, the films became possible. Done right, the blockbuster potential was always there. Dune's challenges aren't really the technology, but with the difficulty in bringing to the screen a frankly very cerebral story, that features a lot of internal dialogue, morally ambiguous characters, and a somewhat unsympathetic protagonist. It's just not as accessible a story and IMO a much bigger risk from a studio's POV than LOTR was. Let's put it this way. LOTR could have been a box office disaster had they screwed it up. On the other hand, even if Dune is done brilliantly, as good an adaptation as is possible, in my opinion the box office ceiling is still much lower than LOTR.

Well said, Jay! Like I always say... "There's a butt for every seat". Everyone has their likes and dislikes for soundtracks. MV was making a broad-brush statement and definitely not referring to any single composer. No doubt Hook will happen eventually, but we are still feeling the effects of the COVID shutdown last year with manufacturing plants world-wide. I am in the IT sales business and our monitors that used to take days to build are now taking 2-3 months due to an industry-wide monitor glass shortage! So far this year we've gotten three amazing JW movie releases with a wealth of unheard of music and/or remastered OST(s). With 4 months to go for the year I anticipate 1 or 2 more JW releases, possibly another Spielberg release! A pretty successful year considering the recovery mode that the soundtrack labels are currently in.

sorry, today is my sensitive day. But this is nonsense. Not every „true“ fan (whatever that means) has the time, the necessary access to the „available“ materials or the technology to do this – or (in my case) just can't be arsed to spend time doing this.

Here some speculation for possible release date for new Hook expanded soundtrack. Hook original soundtrack > 26th November 1991 Hook USA Release > 11th December 1991 Hook major European Releases > 26th March - 7th April 1992 Hook LLL expanded soundtrack > 28th March 2012 - 20th anniversary of the European releases Hook Mondor 2LP Release > November 2021 - 30th anniversary of the original soundtrack release Possible new Hook expanded soundtrack > March - April 2022 - 30th anniversary of the European release AND 10th anniversary of the LLL expanded soundtrack release. A double occasion to see this coming around this date. Wait & See.

Damn it, I mocked Bespin in another thread for buying Krull over and over and here I am buying various remastered TWOK. So I just bought this...again! Such a wonderful score. PS, @Bespin, I'm selling my old remastered TWOK for $500.

Oh no, I pray for none of these to happen. No, we're starving! There hasn't been a new Goldsmith release for two weeks!

https://www.jpc.de/jpcng/classic/detail/-/art/john-williams-boston-pops-orchestra-complete-philips-recordings/hnum/10693190 John Williams & Boston Pops Orchestra - Complete Philips Recordings Boston Pops Orchestra , John Williams 20 CDs Pops on the March Pops in Space We wish you a merry Christmas Pops around the World Aisle Seat - Great Film Music Out of this World Prokofieff: Peter and the Wolf; Tchaikovsky: The Nutcracker (excerpts) With a Song in my Heart Swing, swing, swing America, the Dream goes on On Stage Bernstein by Boston Pops in Love Holst: The Planets Digital Jukebox Lucky to be me Salute to Hollywood Pops a la Russe Pops by Gershwin By Request / Pops Britannia Artist: Boston Pops Orchestra, John Williams Label: Decca , ADD Order number: 10693190 Release date: 14.1.2022 John Williams is revered as the composer par excellence for some of Hollywood's most popular film scores. This has pushed another facet of his career somewhat into the background that is no less important: John Williams as concert conductor. Williams' career on the podium began when he succeeded Arthur Fiedler, who in his fifty-year tenure had made the Boston Pops Orchestra a national institution and a globally recognized ensemble. Given the daunting task, Williams' conducting turned out to be a brilliant choice. Williams legitimized the film music repertoire by treating it with more philological respect and seriousness than he had previously received - which in turn meant that it was also valued by other orchestras. He commissioned new, musically more demanding symphonic arrangements of popular classics and the Great American Songbook, replacing the lackluster and "kitschy" arrangements in the pop repertoire. He also expanded the orchestra's core classical repertoire by performing European composers who had not previously been performed and commissioning new works. Williams' legacy with the Boston Pops is superbly portrayed in this box that gathers the albums recorded for Philips from his first decade at the helm of the orchestra. The set is rounded off by an intimate project with the unforgettable Jessye Norman: Williams returns to his pianistic roots and accompanies Norman on songs by Leonard Bernstein, Michel Legrand, Richard Rodgers, Kurt Weill, George Gershwin, Frederick Loewe and Billy Joel. Jessye can also be heard on a second disc of this collection with the Pops and sings the Great American Songbook. Philip Classics 'recordings are one of the most important testimonies to the importance of Williams' work with the Boston Pops and the most comprehensive example of the musical skills, interpretive acumen and stylistic breadth of the conductor John Williams.

These demastered versions are the tangible proof of why the world need a guy like Mike Matessino.

Woah, that's bad A lack of oversight, no quality control, an abundance of yes men, nobody's heart really being in the project...

Don't drink and remaster, it's quite simple, no?

@Jay

I don’t think JW has ever gone in the record with an honest opinion of a film, though I’m happy to be proved wrong. I would say this is because he’s so old-school that he would consider it unprofessional and downright vulgar in the extreme to voice an opinion on a piece of work that he was paid to contribute to. When you think about it like that, who would like to say he’s wrong and should instead stick the boot into all the second-rate films he’s had to hold his nose and write music for over the years? Mark

Anyway if we look on the credits of the Philips albums, it seems JW didn't have time to write his own arrangements for works written by others, and it's perfectly understandable. Those years were crazy!!! Composing, conducting, recording albums, recording TV shows, he was everywhere!

Matt, I think you'll find that the OST of FIDDLER ON THE ROOF also contains "his (Oscar-winning!) adaptation"

For me, it sounds more like a master using his well honed skills than a composer on autopilot. Yes, this.

Agreed, Steve. THE BOOK THIEF is a late-flowering masterpiece. It's a pleasure from beginning, to end, and it's easily the best thing about an otherwise lacklustre film. Geez, even Roger Allam couldn't save it.

Here's hoping one day we get the alternate version of that cue, and it pairs nicely with the film version as its own mini-suite. But yeah, I really wish we'd gotten that cue as the fifth and final act of this suite. It's the perfect closing cue for the trilogy, maybe even the whole saga. I'd love to hear Williams flesh it out into something more developed (an opportunity Abrams so rarely afforded him).

The Book Thief is one of the best thematically structured Williams scores in recent decades. It is a brilliant score. Perhaps the construction of the OST does not bring that out fully, a chronological treatment might help. Each cue is wonderfully constructed on its own and within the narrative structure

I never said it was only referring to Williams. But for me, nothing that has come out this year could be defined as spectacular.

Stepmom is nice.

Yes, but the theme (and mood) of The Accidental Tourist is the apotheosis of the authumnal score.

wakes up and sees it wasn't a dream

Or Hook will be release on February for the maestro's birthday. 175 days left...

Disc 1 1. Main Title (Pilot Version) :46 Disc 2 1. The Boiler Room (Show Dub) :39 Disc 3 1. Main Title (Pilot Version With Overlay) :46 41. End Credits (Alternate Take) :52 Total John Williams: 3:05 That's about $9.99 per track + shipping ORDERED! But in seriousness, I really enjoy this kind of 60s television score music, so indeed, ordered.

This is cool, I only have a few of these so it's temping. I love a good John Williams Boxset!!!

Apologies, my good jokes burned in the Universal fire...

We don't know about the track indexes yet.

I’m seriously considering going to this, as are Maurizio and Mike M so we could consider a mini gathering if there’s interest. When Maurizio and I hosted the JW & LSO video tribute in May, Sir Clive Gillinson talked about this concert but we had to edit it out. Mainly because he was asked by the LSO if he’d pay for their flights and hotel to join him for the concert! Obviously with tongues in cheeks.

Or there are several expanded editions of Hook coming out on CD this year, not just one.

Journey to Exegol for me (and for the timpani player), please.

Releases like these demasters actually make things harder for Mike to do a proper release in the future. Now, instead of only having the OST albums, and what's heard in the film itself, to make sure he factors into everything he is doing with the sound and assembly, now there's all these wrong takes that are now officially released to potentially feel like must be included to to be comprehensive, let alone the different sound mix as well. If Disney had just hired Mike instead of Shawn Murphy to do these OST album rebuilds, they would have sounded consistent and had no wrong takes anywhere, and a future expansion project wouldn't be needlessly complicated...

I count 5 themes in this score, personally. Here’s where you can find them on the original soundtrack album: Mystery Theme 1 Main Title @ 0:08, 0:26 Main Theme 1 Main Title @ 0:50, 1:15, 1:44 2 Theme From The Eiger Sanction (Flugelhorn Version) @ 0:16, 1:01, 1:54 4 The Icy Ascent @ 0:15, 0:59, 2:03, 2:53 5 Friends And Enemies @ 0:21, 0:53, 1:37 7 Theme From The Eiger Sanction @ 0:16, 0:57, 1:43 9 Theme From The Eiger Sanction (Hemlock and Jemima) @ 0:00, 0:55 12 Up The Drainpipe @ 2:53 13 The Eiger @ 0:43, 1:02, 1:42 Suspense Theme 3 Fifty Miles of Desert @ 0:13, 1:00, 1:35, 2:14, 2:34 5 Friends And Enemies @ 0:00, 0:11 11 The Microfilm Killing @ 0:09, 0:27 13 The Eiger @ 0:26 Action Theme 3 Fifty Miles of Desert @ 1:47 Training Theme 8 Training With George @ 0:00, 0:37, 1:40 10 George Sets The Pace @ 0:07, 0:27, 1:02, 1:38, 2:14, 2:23 (Training Theme B Section) 8 Training With George @ 0:22 10 George Sets The Pace @ 1:10, 1:58

Not yet but I'm working on one

Yes, thanks, that's much clearer (to me) than the articles I read. :-)

There's an option to get an email when it's available again, which in a sane world would mean it's not gone forever...

Combining the tracks newly recorded for By Request along with Pops Britannia would push that disc to 85 minutes, according to an iTunes playlist, unless they were to remove Orb and Sceptre, with was originally from Pops on the March. That's something else about the Philips CDs, many of them include tracks that were originally included on earlier albums. Maybe if they remove all of the duplicated material they can get it down to 20 discs? I don't know if it's really that much of a difference, but if they don't want to keep the original album setlists, maybe it could be done? It seems unlikely, since the announcement clearly listed the album titles... more likely somebody simply forgot the existence of That's Entertainment. Hopefully by January it will all shake out and become a 22-disc set, with That's Entertainment and the full By Request... album included.

Count me in as one who has Angela's in his top 5.

Oooh, same here! Finally! I *think* I'm there since Always.

All of the early albums are around 40 minutes, though none are actually under 40 minutes. So if they are limiting themselves to 80 minute CDs then no. If they are overburning to 81-84 minutes, then yes.

This looks superb. Jim Titus on the artwork too, which adds more polish.