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I wouldn't normally weigh in on a thread like this, but I must say that I find it rather disconcerting that there's really anything to discuss here. I'm not sure how anyone who finds joy and inspiration in John Williams' music and has thus supported the fantastic work of the expansion labels could ever attempt to present a valid reason in favour of limited releases unless it was out of selfishness. Talk about commercial viability and an added sense of exclusivity (yuck!) all you want, but this is what it really comes down to. It has always bothered me that, in the grand scheme of things, the window to purchase many of these expansions is typically limited to a 5 or 6 year time frame at the most (although some have disappeared in as little as 2 or 3 years, as we have seen). For many releases, particularly JW scores, this period has fallen sometime within the last decade. A constant stream of releases has meant that JWFan has been eating good during this time. However, many of these sets have already gone out of print, or are very near the end of their stock. What about the future JWFans who will have missed out on these? What about the JWFans who are still too young and not financially independent, or those who are not even aware of these releases because they aren't active members of the online film score community? I would think that anyone on this forum would be in favour of ensuring these were made available to them. Whatever fevered value one might find in a particular release being limited is not only void, but just plain false. How can you hold something like the E.T. set in your hands, and as you flip through the liner notes and listen to the climax of The Departure think that the thing that makes it special is the fact that "I'm one of 5000 people who own this"? That's really sad to me. I am a student. I do not have a full-time job. I do not have a lot of wiggle room when it comes to making purchases like these, and while there are certainly many sets I would happily pick up, my collection remains fairly small. To be clear, I could not be more thankful for the sets I do own. E.T., CE3K, Superman, Saving Private Ryan - these are without question some of the maestro's finest works, and the flawless presentations as tirelessly constructed by Mike Matessino and the folks at LLL could not possibly reflect that any better. I was lucky enough to discover JWFan in late 2017. Of course, I had great admiration for John Williams' music prior to joining in January 2018, but my knowledge of the scores and cues and facts that I am now very much familiar with was limited then. Most significantly, I was not even remotely aware of these expanded releases at the time. Obviously, I had already missed a number of them, and in the process of "catching up" this continues to be the case for me. I try to follow the news on the forum and keep up with the relevant threads, but the reality is that I will not be able to pick up majority of these scores while they're still around. I cannot stress enough how immensely grateful I am for the sets that I do own, but my need to prioritize and become especially selective as a result of this scenario admittedly remains frustrating to me, although I have still managed to be smart about what I buy and when. I know our dear friend Mattris has already posted his dissertation, a good indication that a thread is about to go off the rails, but I guess I just need to say that I am ultimately surprised and disappointed by what I can only describe as a certain level of ignorance and, yeah, selfishness inherent in the question this thread poses. Oh well.

I'm leaving all my expanded soundtracks to Thor (but my estate will bill him the postage). All except Fiddler – that's going straight to Jay.

You mean that, if they were not limited, you would consider them "less special"? So, for you the value of a work of art does not reside in the product itself, but in its rarity? This is a consideration that, although realistic, has nothing to do with what we "prefer". I cannot see how it can raise their value, unless you mean their economic value once they are sold out. I would never think that the HP scores are more special, nor would I enjoy them more, just because I am one of the 5000 (or whatever) people in the world who could buy the box. They are great because the music is great.

Yesterday on my lunch break, I read the liner notes by Deniz Cordell - wow! They are fantastic! I had never heard of Deniz before last week, but after the Burden special and the liner notes, count me a fan. The way he goes through every theme, not just theme but musical idea that recurs throughout the score and explains how they work and where Horner uses them is immaculate. There's no need for track-by-track analysis the way he goes through everything! Then on my ride home from work last night, I finished the main program in the car. As great as the new sound quality was in the early cues I had heard that morning, there's even more to enjoy in the back half of the score. And boy, did listening after reading Cordell's notes really enhance my love for the score. I had never really noticed the sad, unfinished versions of Spock's theme towards the end of the score (like in Genesis Countdown) before, and numerous other little things. The new main program is just perfect! Removing "Genesis Project" from it is a great choice. Removing Spock's narration is a great choice. Everything sounds great and flows great. You can put this disc in, press play, and enjoy a great presentation of a great score with no issues. It's so wonderful. On my way to work this morning I heard most of the OST rebuilt on disc 2. This is one of the best album arrangements of all time I think, Horner really chose the right cues to present and the right order to present them in. I don't have any specific comments about the sound quality, except I don't think the stereo field sounded quite as wide, perhaps. Tonight, I'll finally hear the bonus tracks!

The applause as Williams entered the stage and walked across it to take his place at the podium was wonderful, another step up in enjoying the whole night that the change in weather already had been. I always keep my eye out to see how Williams is doing, and I am happy to report he seemed to have even more pep in his step then he had just a few weeks ago for the Violin Concerto #2 premiere - perhaps he too was invigorated by the change in weather! As is typically the case, as the applause died down he began the first selection right away, without saying anything to the audience. Overture to the Oscars It’s always nice hearing a new Williams composition, and especially nice you go to a concert with no knowledge that you’d even be hearing one! I assume this was commissioned for the opening of the Academy Museum next month, and it is certainly fitting for such an event. Full of resplendence and elegance, I have a feeling this will become a staple of Academy Awards broadcasts going forward as well. Here’s hoping a studio recording gets released at some point! After the piece finished, Williams took to the microphone for the first time of the night: “Thank you very much. I wonder if you are as happy to see me as I am happy to see YOU <massive audience applause> After eighteen months of no concerts, no rehearsal, no television… Hollywood was really a dry place for a year and a half! It is wonderful to be back with you and back with the orchestra <audience applause> and like me probably many of you have watched the Olympics on NBC, and they have done so beautifully, presenting the Olympics. And my association with NBC is a long time one, I've written the music for Meet The Press, the Nightly News, the Today Show, and Sunday Night Football, and let’s see, the Olympics in Los Angeles and Seoul Korea, and Atlanta, and Keith Lockhart and I did the Olympics in Salt Lake City, the Winter Olympics I think it was in ‘02. It's already nearly 20 years! And you will see tonight, some fabulous footage that we were fortunate enough to have allowed us to use by NBC and the Olympic Committee. And these fabulous images I know you will agree when you see them, were put together by Susan Dangle of WGBH in Boston, and it’s quite a... they chose so many treasured faces, there’s a shot in there of Kobe Bryant I can't get over, it's so beautiful. When you watch this I think you’ll enjoy it. Olympics.” Olympic Fanfare and Theme This is, simply, one of my favorite pieces of music of all time, and one that wows with me its power every time I get to hear it live. This performance was no exception, and was the absolute highlight of the evening for me. The Pops played the piece perfectly, with a lot of enthusiasm, capturing all the power the piece contains. Tremendous. The video montage of athletes from across many years of Olympics competitions was nicely done (though admittedly, I spent more time watching the orchestra playing the music and did not focus on it too much). The audience erupted into quick and enthusiastic applause when Simone Biles showed up in the montage. Then, Williams grabbed the mic again: “Here is something that I wanted to show you and have you hear. It’s from a film called Big Friendly Giant, which Steven Spielberg made 2 or 3 years ago, which not too many people saw <audience laughter> But it was written by um, oh dear... Charlie and the Chocolate Factory <audience helps him out> Thank you very much - Roald Dahl! And it’s called Big Friendly Giant. And Steven wanted to make this film for technical reasons, because he wanted to present an adult man, the giant, having scenes and playing the entire film with a young girl, 8 or 9 years old, small enough to be held in his hand. And he would take the little girl to the land of dreams, and find dreams, searches for them - good dreams not bad ones - and capture them and enclose them in bottles. And then the giant could distribute these to children throughout the world. And what you’ll see here is a montage put together from this, of all the searching for the dreams, and the orchestra - particularly the flutes - will accompany all this choreography and these gyrations. And the lighting I think you’ll agree is very beautiful. I hope you enjoy this. Big Friendly Giant.” A Child’s Tale: Suite from The BFG This is a favorite of Williams scores for me, and one of the best works of his recent output. I love that Williams seems to be particularly fond of it, developing this lengthy (this performance ran slightly over 7 minutes) suite from most of its themes and ideas, and taking the time to introduce it and highlight what he’d like the audience to pay attention to. The montage was a nicely done assembly of the parts of the film that showcase Sophie and the BFG’s friendship, and their adventures with the dreams. The whole adventure with the Queen is not shown, and the bad Giants were not featured much either. It was nicely done, and overall, this really shows how much can outlive the films they were written for. I don’t know how many people in the audience who had not seen this film might have been compelled to go see it after this night, but they might be more inclined to listen to the music again. “Thank you. This is from Indiana Jones, Scherzo for Motorcycle and Orchestra. And the reason for "Motorcycle" is that we had Sean Connery and Harrison Ford on a motorcycle being chased by Nazis, and they had to get away very quickly. And I had to write this piece to accompany that scene. Unfortunately when I went to the theater to hear the scene, all I could hear was the motorcycle. So I resolved to make it a piece for Orchestra. Motorcycle and Orchestra, without the Motorcycle. All right!” Scherzo for Motorcycle and Orchestra from The Last Crusade This is the wonderful, updated concert arrangement version that premiered some time after the initial concert arrangement version (the one heard on The Spielberg / Williams Collaboration album). I was so thrilled to get this selection instead of something like The Raiders March or Adventures of Mutt; This was another major highlight of the evening. The performance was wonderful, and since I am not very familiar with the newer changes this arrangement has, I got to enjoy some musical surprises for the first time since Overture To The Oscars. Marion’s Theme from Raiders of the Lost Ark This was the wonderful arrangement from 2008 that I have heard a few times, yet enjoy hearing very much every time. Unlike the later Han Solo and the Princess arrangement, this arrangement could have easily been done at the time of the original film and felt at home there. I have always loved this theme, and this arrangement of it is a great selection for any film music concert. Throne Room and Finale from Star Wars: A New Hope Perhaps because of time length limitations for the concert, Williams didn’t say anything after the Indiana Jones selections, and instead launched into this after a not very long applause break following Marion’s theme. Much like the Scherzo, I am always thrilled to hear this piece performed live instead of the Main Title arrangement yet again, and the Pops did not disappoint at all with a great performance of it. The applause afterward was the loudest and longest yet of the night, as Williams seemed to really appreciate the audience immensely before leaving the stage, only to come back relatively quickly for the first encore The Imperial March from The Empire Strikes Back There is nothing left to say about this, I think I have heard it at seemingly every Boston Pops Film Night concert I have ever attended, and it always sounds great. The audience began applauding long before its final chord, which didn’t surprise me at all. As the applause continued, Williams left the stage only to return… with Keith Lockhart! I thought this meant that there would be no second encore and he was going through the final motions of the night, but that was not the case! Instead, both Williams and Lockhart went up on the podium, and then Lockhart stepped down and to the side and let Williams begin conducting: Flying from E.T. The Extra-Terrestrial Another classic I’ve heard a million times, but the music is so good how can you complain? I was mostly fascinated by trying to figure out what was going on on-stage. Williams was conducting and Lockhart was standing off the to the side watching… until suddenly, Williams stepped down (and of course, all the musicians know this piece so well, they don’t need a conductor to keep going perfectly), and Lockhart stepped up and after a bit, started conducting himself! I had my eyes locked on Williams, who had slowly stepped downs towards the violin section, and had to move one of their stands a bit to make room for himself. He then slowly turned and observed each section of the orchestra as they played his music to Lockhart’s conducting, and he seemed to just really be enjoying being literally in the middle of all this happening. Towards the end of the piece, they swapped spots again, and Williams conducted to the end while Lockhart watched. Then, both men bowed and made sure to highlight all the musicians on stage as the applause kept going and going, until Williams eventually made his classic “sleepy time” pose, generating the usual laughter from the audience, and they made they way out the side door and the standing ovation continued for a while until it was clear the night was over and the stage lights came on. A truly magical evening of music, and one of the best film music concerts I have ever attending. I was so thrilled to see Williams in excellent health, to hear one of his newest compositions, to hear many favorite pieces played splendidly, and to enjoy it all with an enthusiastic crowd in the gorgeous weather outdoors. As we walked back to the parking lot, the sky constantly lit up with amazing lightning bolts, and in fact the coming rain only arrive literally as we were entering our car. One last little bit of happenstance to end a wonderful night.

Right now they’re listening to records. Give them 20-30 years to discover better physical formats like the CD.

Can't wait to listen to all of it! The Herrmann is a nice surprise: I expected an outer paper sleeve holing the disc sleeves, but this is a nice little thick cardboard box like the Sony JW box. But unlike with that box, here all the original artwork seems to be reproduced, the booklet has the expected general tracklists plus general liner notes but the disc sleeves are little facsimiles with the original backs on the back, liner notes in tiny print and all!

The loot has arrived.

Buried only has one r in it

But we're specifically talking about the case where people miss out on that product because it sold out *because* it was limited, i.e. they would have been able to buy it had it not been limited. The question wasn't whether we support the Labels making limited releases (most of us do, and most of us understand why they have to make them limited, and have explained so above), but whether we would *prefer* them to be limited or not, without any specific other qualifiers. And clearly, many of us would *prefer* them being unlimited so that all people who want them (now or in the future) can buy them. That this is sadly not practical under the current condition isn't relevant to the question.

The important thing is that it gets reliably reused by someone who actually cares for the music itself and is able to appreciate what he owns. Whether that means to hand my entire collection over to one person or to sell/give away one CD after another doesn't matter as long as it gets used. However, that is a matter of maybe at least 60 years in the future.

I only listened to the BFG OST once, probably over a year ago. It felt boring then. I am relistening to it now, and every track feels great, on par with tracks in E.T., The Last Crusade, Shore's LOTR, and other such. Classy flow and orchestration that sounds refreshingly elegant compared to the "Christmas Tree" fests of Rimsky-Korsakoff and Co., and yet is as accomplished. It would sure make for some catchy orchestration textbook examples #FreeTheScores

1 week to go till the next LLL flyer!

Exactly the same for me - I found the main title track during my very first days of discovering scores and I hooked onto the score heard in the film immediately. I'm a sufficiently big fan of the music in the film that I also tracked down the trailer music, the parade source music, and the bar source (last one's not hard - it's on IMDB) The album is terrible - anyone basing their opinion of the score on that alone will be disappointed. Silvestri did a far better job making a half hour of Volcano.

Marc Shaiman - City Slickers Marc Shaiman - City Slickers II: The Legend of Curly's Gold We watched both these movies over the weekend, so I grabbed both OST albums off the shelf and listened to them on my commutes to work Monday and Tuesday. Holy hell, these scores are great! The first is brimming with like 5 themes that all get used throughout the score, which is full of exciting set piece cues. The second score just takes all that material and kicks it up a notch, with lusher orchestration (choir over epic moments, banjos, fiddles, harmonica, and so on) - it all just becomes more interesting. It's like a bigger budget version of the same score in a way, but doesn't actually ever feel like a retread of the first, it's also full of fresh takes. I'd love for the specialty labels to tackle both of these! Especially the first one, as listening of the 30 minute OST album shortly after seeing the film it was apparently how much score is missing, including some highlights (like the Running of the Bulls cue that opens the film). Actually, both score albums are light on the electric guitar material used for Curly/Duke. Bring on the expansions!

Originally it was Roger, though Doug chimed in with some great stuff later: http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=7704 This is actually my most-wanted Goldsmith expansion, because the score went substantially unused in the film (where there is still some great unreleased music to be heard) and the CD was only 29 minutes! Agreed. IMO this is Varese's most brilliant (and hilarious) clue image, yet. Yavar

I listened to this last night/ this morning. Sounds great! My buddy who's a big Trek fan came over last night with his FSM CD so we could compare. On this new release, there is more separation of the instrument details, the sound has a more crisp edge to it, and more warmth. The soundstage feels wider and I feel like I can hear the room the musicians are sitting in better. As it was described earlier, sounds more like it was recorded in recent times, and the difference is comparable to the LLL Superman vs the Blue Box for sound quality.

This is exactly how I feel about the original Superman score (and film). The opening is incredible, from the main titles to the Krypton sequence, travel to Earth, heartfelt Smallville stuff, and the incredible Fortress of Solitude. Absolute perfection IMO. Then it turns into something goofy. Christopher Reeve is GREAT in the role but in my opinion the rest of the film isn't at his level, alas. The silly villain stuff, everything so dated, the score is well-written but almost all surface-level in the second half. It's almost all about simply catching onscreen action and lacks almost all the depth of the first half of the score. Of course the flying sequence is lovely and there are other exceptions, but I too almost always skip from Fortress of Solitude to the End Credits. Superman IV, despite accompanying an even more goofy film, I find the far more consistent listen all the way through. I really enjoy the three new Williams themes and I adore what Courage did with all Williams's material. Honestly, for me in terms of listening enjoyment: First half of Superman >> Superman IV >>> Superman III > Second half of Superman (apart from Flying Sequence and End Credits) >> Superman II Oh, and I'm a Goldsmith nut as you all know but I rank Supergirl somewhat below Superman IV too. As for Jaws 2, I LOVE it...on album. In the film it doesn't deserve to be mentioned in the same breath as Jaws, one of the most perfect film scores of all time (but it had the advantage of a far better film to accompany, of course). I think the original Jaws 2 album is arguably a more enjoyable album listening experience than Jaws, but Jaws is a great film score while Jaws 2 isn't at all. Despite the obvious caveats of Kevin Spacey Bad, I thought that his Lex Luthor was easily the best thing about Superman Returns, and a huge improvement on Gene Hackman's Luthor (while still somehow channeling his version too). Superman Returns had a lot of issues but Luthor in that was actually menacing and dangerous while still being entertaining. (Can you imagine if Ottman was requested to keep the Williams Luthor/villain theme in that film? Lol...) Yavar

Oddly enough my wife and I talked about this recently as we've prepared our wills. 1. If the kids still show any interest in any or all of them the of course get first dibs. 2. If there is a friend or family member that shares the interest/hobby they can take what they want. 3. Sell them at fair market value to the community Honestly my first preference is I just want the music to go to someone who enjoys it. If it's worth a great deal of money or not so be it.

Agreed. But I question how much future fans will care about this stuff if we fast forward that far ahead. Most of them will probably only listen to soundtracks in whatever digital format is current at the time, and the value of many expansions will probably drop as newer versions are released. I can picture OSTs retaining their value better, due to the sentimentality of having the original release. Which might extend to the first releases of scores that never had an original release, or to obscure scores that never had an upgraded or rereleased expansion after the original, and may be unavailable on the Spotify du jour. We also have to be honest with ourselves that many of us see value in CDs because we grew up with them, or because they were the last big physical format for music in our lifetimes. But people who haven't been born yet will mostly not give a shit about CDs or physical media. There will probably only be a small contingent of hobbyists who bother with them. "Get buried with my CDs" is looking better all the time! But I do hope if I have kids, that they'll give a shit about this stuff. One can dream. Thanks for this poll and its funny options, @GerateWohl!

I haven't seen this movie. Is it from the same people who brought us A New Hope and Indiana Jones and the Raiders of the Lost Ark?

R.I.P. to Mr Watts ... shunning all the 'rock star' trappings probably made him the most effortlessly cool of the Stones. Love that story about Charlie being wakened in his hotel room by a drunk Jagger phoning from his, asking was 'my drummer' there. Charlie got up, put on a suit (naturally), went to Jagger's room and when he answered the door punched him, saying 'Don't EVER call me 'your drummer' again! You're MY fucking singer!'

I still think Villeneuve's the best director for Dune (is there a director more suited to the material?). I honestly believe he has the right sensibilities for it. But for Dune to be the masterpiece we want it to be, it's going to have to be Villeneuve's best film.

Even if I'm snarky and sarcastic and pessimistic, deep in there somewhere I'm more of an idealist. So options 3 or 4 depending on how well the future offspring(s?)'s upbringing will turn out.

Got mine today, first thing I did in iTunes was take the two separated cues, “The Eels…” and “Kirk in Space Shuttle” and move them to the main program. 😁 The sound is improved, much more separation and clarity in the cues.

Oh shit. What good is it to have Keith Richards living forever when the rest of them can die? It was the Stones who slowly re-introduced me to rock music a few years after Williams had turned me orchestral music exclusively. I was fortunate to catch them last two times they came to Austria, in 2014 and 2017. My father was a big Stones fan and used to put on their concert DVDs late at night at the end of family gatherings. Once the neighbours asked him the next day if he had been him playing them last night. When he apologised, they told him not to apologise but turn it up more next time.

I've just heard, on the BBC. Fucking hell, this is deep. He was the beating heart of the Stones, and, possibly, the greatest - and most modest - straight ahead backbeat man. Not an inovator like Ringo, not a star like Moon, not florid like Peart, and not aggressive like Bonzo, he was the solid rock, upon which the Stones built their entire catalogue. He will be missed...very, very much.

I agree. I had no idea what to expect but damn, the film score just sounds fantastic. No matter what type of cue it is or what type of instrument is being featured, it consistently sounds just terrific.

Look what just arrived!

For myself, getting expansions over the decades has been a delight, and part of the fun of being a soundtrack fan. The delayed gratification made me appreciate both album arrangements and the newly released material when it came out. I wouldn't change that for the world, because when there's a cue you want, but don't have, it shapes your estimation of all of it, for better or worse. A new fan who gets everything all in one shot is denied the thrill of the yearning and the satisfaction of the new release. I'd imagine someone whose first exposure to these scores is the complete score will regard little incidental cues very differently than those of us who hungered for them for decades. A weird psychology, I know, but I enjoyed growing up in the OST era, and now living through the expansion era.

I love the discussion in this topic. It simply boils down to the fact that being a film score fan is and will always be a niche section of the music world/collector's world. I've missed out on some serious releases simply because I was away from this forum for some time. I don't regret it that much, but it does suck that there will be future John Williams fans wondering why they can't have complete scores to some of his most popular works. It'd be nice if there was a way the labels could set up a pre-order system for releases that go out of print...and once the label gets enough money to make a profit, they print a new batch....but again that's naive and almost impossible, because they probably wouldn't be able to get enough people to pre-order it since most people that miss out on these things are stragglers and fans that simply don't exist yet. Again, niche fan base. Take the score, Minority Report....let's say it's out of print, and LLL decides to print another 3,000 copies, but only if 3,000 people pre-order it. How long do you think that would take? I'm guessing too long for it to even be an option worth considering. And that's a premier Spielberg/Williams release. So I dunno, digital seems to be the only way to help out those future fans.

This question was a lot tougher for me. On the one hand, of course I want every fan who wants to get the scores they want to have the ability to go and get those scores and enjoy them to the fullest like so many of us have been fortunate enough to do. This keeps the music alive, preserved and keeps these labels who have dedicated their working lives to these things in business and doing the work that we have enjoyed the fruits of so far. On the other hand, I started collecting this stuff when I was 14 (now about to turn 39) that is a lot of time saving and scrounging and collecting. Of course I still want people to have access but I can't lie there's a certain feeling I get when I look at the cd shelves in my office and think... You know I'm probably one of only 5000 to 10000 people on the planet with this kind of collection. Picking up these beautiful packages of music and knowing I can't just go to Walmart or Amazon to get them... there's something to that... I know that the days of the CD are numbered and these physical releases are probably only going to last so long but for now I'm enjoying the heck out of the music and the game of collecting. After all is said and done, I think the idea of limited physical releases and unlimited digital releases that has been mentioned here is a good idea (assuming the business side of things would ever work out!) It allows both camps to co-exist and in the end it's about getting the people who love this music a chance to hear it and feel like part of this family. So if I have to lose part of that pride when something in the Varese club comes out digital that I've treasured as physical for so long that others get to share in it... so be it and we're better for it. [Edit: and I just noticed it only took me almost 20 years to hit 500 posts.... that's pathetic lol ]

In other words, "am I a selfish asshole" vs. "do I want art to be presented properly and accessibly". LLL should get on the digital train after Varese and Intrada, and convince JW too, including the booklets digitally too, THEN limited physical releases would be acceptable. I was insanely lucky to find this site just when all I wanted (or was about to find out I wanted) was about to come out or still available.

They're here! I'm most excited about Lionheart and Extreme Prejudice, to be honest.

https://m.facebook.com/story.php?story_fbid=366488108254563&id=100046801313095

I'm not a body language expert or anything so maybe I have no idea what I'm talking about. It just seems to me in the scene that he's playing it more stoic, more Poker-facey because [Scorpion] is trying to figure out if he knows Spidey's true identity and he chooses not to give it away. EDIT: Found the scene:

First one is probably Love Field but I secretly hope that it's CMIYC Dante's Peak seems to be a nice options for the second one. Certainly one of Varèse's cleverest clue if it's turns out to be true

Fuck you!!!!

Airport? Looks like Dallas! And the painting reminds me of Dantes Inferno related? Hmmm this should be easy to guess... The Airport is Indeed LOVE FIELD, Dallas.

All of these releases are temp out of stock for months on end.

Yes, but most of us who said we *prefer* releases to be limited have already said just that in our initial posts. I fully support the Labels in doing limited releases under the current conditions. But they haven't sold out very quickly for years now. There was a time when these would sell out over night, but for the past several years I have had no problem with waiting a few months to place an order until enough stuff had accumulated to warrant the shipping overhead. I would have ordered almost everything just the same way if it had been unlimited (even with a guarantee that it would still be available in ten years). I'm sure *some* people hesitate less if a release is limited, but I don't think it makes a significant difference on the whole, except perhaps for the smaller Labels like Quartet who often do very limited releases (e.g. 1,000 copies) - and even then they often take months or years to sell out.

Your arm bones wrapped around a plastic bag with your John Williams CDs.

Other ways include borrowing the soundtrack from a friend or fellow JWFan member... or perhaps, making a trade for another soundtrack. Those who don't want to - or cannot - pirate, pay more, borrow, or trade should just do without the soundtrack for now and be sure to get it if there is a 'next time'. To facilitate a possible repressing of the limited release, these individuals could appeal to the record label and encourage other fans of the soundtrack to do so. This has worked before with a few Williams titles. ('Back back popular demand...') I understand the principle and agree with you. I personally don't want any John Williams release - or any soundtrack, for that matter - to be limited. But we have to face reality: these types of releases have to be made limited for this business model to exist at all. Perhaps things will change in the (near) future. The fact is, these releases were produced and advertised as 'limited'. This increased demand, primarily due to 'fear of missing out'... and they sold out relatively quickly. This should indicate to LLL - and the companies that own the rights to the recorded scores - that a demand for these expanded scores does exist... and that a subsequent re-release (repressing, download, streaming) would be a viable endeavor.

The bigger question is does the MCU Tom Holland Spider-man end the movie still in the MCU, or in another multiverse so Sony can use him in their own movies without cooperating with Fiege and Disney any more? Or will he stay in the MCU, but the movie will set up a premise where Sony can now make their own Spider-man films with Maguire or Garfield or a new actor while Tom Holland MCU films also still happen?

Couldn't help myself. Here's a transcription of the soaring main theme, as it appears after the Jovian/Galaxy's-Edgesque opening. I left out some of the trumpet countermelody stuff around m. 14-16 for clarity's sake, and a few of the chordal inversions are speculative on my part, given the low audio quality at present. Really classic 1980s-sounding Williams, not-so-distant cousin of "The Mission" and a few other occasional pieces. Some of the harmonies and progressions are particularly characteristic -- oddly enough, most similar to the music when Willie is lifted from the lava pit in TOD!

Poll is missing an option: "Makes no difference to me. Have no interest in them in the first place".

There’s nothing better than seeing someone hoard Limited releases only for their investment to fall flat when they’re re-released.

Diggin' this score. I love the absolute abscense of the Jaws Theme in the main title until it comes out of nowhere at around the three minute mark and then it hits hard within seconds. This score also includes some of Williams sharpest and edgiest action writing.