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Showing content with the highest reputation on 27/08/21 in all areas

  1. Would be amazing if he approached it like Williams' Star Wars suites, and wrote a handful of movements! He could even open with JW's suite: Act I - The Adventures of Han Act II - Han & Q'Ira (Love Theme Suite) Act III - Mine Mission (Concert arrangement of film cue) Act IV - Chewy & Flying Suite Mirrors the structure of the end credits, except each major idea is extrapolated into a standalone arrangement.
    8 points
  2. Whoa. I started with the OST and like it! Sounds great (not familiar enough with the varese so not sure by how much - I hear by a lot), good performances, a healthy representative mix of jazz, classical inspirations and good old film music, arranged not badly. The Eiger is a pretty meh finale, I like it better with the extra tracks put after it, works out great. Source music is okay, kind of just generic 70s background music, not especially fun or interesting to me - hot take, if these are the best ones JW approved out of the 7, he can keep the rest as far as I'm concerned. Though I wouldn't say no to a Superman situation where they are released, but somewhere else. And then the film score - holy moly. The performances are better, the cues themselves are better, the sound is INCREDIBLE, this 46 year old 3-track mono source sounds like it was recorded yesterday! I don't know how much Mike had to do but the end result is mindblowing. The first half is about what one expects, a varied damn good score for a mediocre movie. Felicity introduces the classicalesque element early so the Montage is more like a return, I like that. Also a lot of jazzy cues, i love that. Also lots of great main theme renditions, I love that. Also early on it can feel more like a small Morricone-esque, europeany sounding score almost blending into source, then the film scory film score grows out of it gradually. Cue combinations don't stand out at all, executed perfectly, even nonchrono ones like Top of the World. But then comes the latter half. An utterly gorgeous whole different kind of score the music grows into. A blend of cold icy textures, relentless unforgiving snowy soundscapes and emotional or melancholy main theme statements, this section is incredible. I don't know what goddamn movie JW was watching, it sure as hell wasn't the same one I did! Or he scored the movie he wanted it to be, drawing on the core ideas and possibilities, not the execution - hell, rather than scoring 4 spies or whoever going up a mountain but then coming down but then dying, with a cloudy motivation for the hero that's 100% abandoned and unexplored until it's over, to me this felt more like JW closing the book on this chapter of his life with Barbara's death and everything, right before the watershed moment was coming with Jaws, as if he knew. Absolutely fantastic. The credits is over a bit too quickly to put a proper cap on it, but then I rolled over into disc 2 and the main title started - which is a perfect finale, actually! So overall it ends up being somewhat of a blend of Long Goodbye, a tiny bit of Images, Earthquake (so I'm told) and Black Sunday - but ends up growing past them in the latter act into something greater than all of them. People. BUY THIS. I won't ask for a replacement disc for this kind of mistake, if I ever listen to the disc, it's unnoticeable, just the master playing through as intended, and I fixed my rip in literally a minute. Unfortunate but of a better kind.
    7 points
  3. Man, that's some store. Imagine waking up in the morning, casually strolling into a store, making a small purchase (say, 6 albums worth around 200 bucks), and then going home, with an extra spring in your step...
    5 points
  4. I've been thinking about doing this for a long time, but never found the right moment to work on it. Now I've realized that it's as easy as start a thread and compile as many dates as people may want to add. You can copy/paste all the events already posted by others and add them to your post, or simply add a bunch of new ones and someone else will make and updated list, which will be added to this main post on a regular basis. All kinds of events attended by the Maestro, awards/nominations, concerts, recording sessions, even original album releases, are welcome to the list. Here's a start with some examples: 1932/02/08 - John Towner Williams is born in Queens, New York 1976/03/29 - John Williams wins his 2nd Academy Award for the original score for Steven Spielberg's "Jaws" 2020/01/29 - John Williams wins the Grammy Award in the Best Instrumental Composition category for his "Star Wars: Galaxy’s Edge Symphonic Suite" 2020/01/31 - Jim Svejda interviews John Williams on KUSC Radio 2020/02/08 - John Williams saluted at the Society of Composers & Lyricists’ annual Oscar music reception 2021/07/24 - John Williams conducts the World Premiere of his "Violin Concerto No. 2" at Tanglewood, with Anne-Sophie Mutter on violin 2021/08/14 - John Williams conducts the World Premiere of his new work "Overture to the Oscars" at Tanglewood Feel free to expand the event descriptions, as long as they're not too long (this isn't a biography but a chronological list). I'm sure it'll be fun!
    4 points
  5. All great music should be readily available in any format of listener's choosing - physical or not. Karol
    4 points
  6. Thanks! Here they are without the deluxe edition stripe:
    3 points
  7. This morning I grabbed my copy and took the shrinkwrap off, and listened to the whole album on my way to work. It made for an... interesting car ride, and I was again blown away by how good the track "Dogs, Ponies, and Old Ruins" is. Great stuff right there. The whole album is very nice assembled, has a great flow throughout. On my lunch break today I checked out the booklet for the first time. I LOVE the nice, simple, pleasing art design by Nacho Govantes; It makes every easy to read (not always the case in specialty label booklets!), and the numerous production stills were nice too. I do not know how same / different Burlingame's liner notes are in here compared to the 2007 version for Prometheus, but I really enjoyed reading them again, and am thankful for the included the track-by track part that helps give context to what scenes the music is written for. The debut of John Williams' liner notes for the OST album that never happened are pretty cool! Getting to read his own words on how he went about writing the "real world" music and the "other world" music is terrific. And it's so cool that three pictures from the recording sessions at CTS Studios showing Williams, Yamash'ta, and Altman! Overall a superb release, especially for the 16,95€ retail price! Now here's hoping the original scoring elements turn up somewhere one day!
    3 points
  8. A new Goldsmith release, how surprising!
    3 points
  9. Totally unrealistic, but I’d love to hear stuff that I’ve personally been listening to from the recent expansions: - Always - Far And Away - The River - WotW - Monsignor - Images - Dracula
    3 points
  10. Thanks for that! Yea, the difference is so negligible, it doesn't really matter at all. But it is of course great that the exact film version and album version are preserved with perfect editing
    3 points
  11. I noticed a single one from the very beginning of the list (over a decade ago) in 2011: The Egyptian, by Alfred Newman and Bernard Herrmann. FSM put out the original single-disc issue of the original tracks, and Varese expanded it with far superior sound when better a better source for the complete score was discovered. (Then with new tech LLL reissued it again some years later with even better sound.) Varese's Stargate: The Deluxe Edition in 2006 was an expansion of the Milan Records album, and it wasn't a Club title but a regular release. Their earlier expansions of Damien: Omen II and Poltergeist II were also not albums they controlled in perpetuity. Same goes for Planet of the Apes come to think of it (which Intrada had previously expanded by one track -- "The Hunt"), although they did apparently get perpetuity rights to the previously-unreleased music at that point, which is why LLL had to license both PotA and Escape from them. I'm sure there are other examples I'm forgetting about, but I'm pretty sure now that for the past decade since The Egyptian, Dracula is the only example of a time they produced a Deluxe Edition of a title they didn't hold in perpetuity. Yavar
    3 points
  12. JOHN FRIZZELL DANTE'S PEAK: THE DELUXE EDITION (2-CD) UPC: 888072281646 Release Date: 08/27/2021 Regular price$ 24.98 The 1990s saw a revival of the Hollywood disaster epic, with two large-budget volcano films competing in early 1997—and both Dante’s Peak and Volcano had their soundtracks released by Varèse Sarabande. Following the Deluxe Edition of Volcano in 2020, this 2CD set of Dante’s Peak expands its massive John Frizzell score—with themes by James Newton Howard—in a triumph of explosive, symphonic ’90s action. Dante’s Peak was directed by Roger Donaldson (The Bounty, Species) and starred Pierce Brosnan and Linda Hamilton in escaping a Mount St. Helens-type blast in Washington State. James Newton Howard was initially hired to compose the score, but left due to scheduling. Howard contributed two main themes, for the volcano and the film’s romantic relationship, and recommended John Frizzell for the score (as the two had done on The Rich Man’s Wife). Working at a furious pace, Frizzell composed a massive, symphonic score befitting the life-or-death struggle of outrunning a catastrophic volcano—but also containing moments of grandeur, suspense and softer contemplation. “I’m very structural,” Frizzell told Tim Greiving, interviewed jointly with Donaldson for the new liner notes. “So I actually drew maps of the film, placing James’ themes in key moments and trying to break down structurally how I wanted to have a roadmap—knowing how much tension I needed to have and where I could hit the throttle.” Varèse Sarabande’s Deluxe Edition of Dante’s Peak features the 93-minute score across disc one and two, with the 1997 half-hour album at the end of disc two. Limited to 2000 copies TRACKLIST DISC ONE 1. Main Title (From The Motion Picture “Dante’s Peak”) † (5:36) 2. Welcome To Dante (1:05) 3. Swinging Rope / Poached Lovers (1:44) 4. To The Mountain / Measuring Alkalinity †† (2:19) 5. The Close Call (Film Version) (1:48) 6. Paul Confronts Harry (3:04) 7. Flirting † / Helicopter Ride † (2:31) 8. Porch Talk † / Men At Work (3:03) 9. Trapped In The Crater (Film Version) †† (5:53) 10. Frog Soup (1:15) 11. On The Porch (Film Version) † (2:40) 12. The Evacuation Begins (Film Version) †† (4:16) 13. The Earthquake ‡ (4:11) 14. Mass Exodus †† (4:15) 15. The Helicopter Crash (Film Version) †† (2:43) 16. In The Cabin (1:51) 17. Acid Lake (2:38) 18. Escaping The Burning House (Film Version) (3:23) 19. Sinking On Acid Lake (Film Version) (3:20) 20. Ruth Dies † (1:53) DISC TWO 1. Jump Start Truck (2:34) 2. Paul Dies (2:50) 3. Stuck In The Lava (Film Version) (2:27) 4. Devastation †† (1:55) 5. The Pyroclastic Cloud (1:33) 6. Crash Into The Mine ‡‡ (1:46) 7. Magnificent Explosion †† (1:50) 8. The Mine Collapse (3:58) 9. The Rescue (Film Version) ° (4:56) 10. Paul Dies (Alternate Take) (2:49) 11. Magnificent Explosion (Alternate Excerpt) †† (1:20) 12. The Rescue (Alternate Version) ° (4:44) The Original 1996 Soundtrack Album 13. Main Title (From The Motion Picture “Dante’s Peak”) † (5:29) 14. The Close Call (1:43) 15. Trapped In The Crater †† (5:03) 16. On The Porch † (2:31) 17. The Evacuation Begins †† (4:11) 18. The Helicopter Crash †† (1:27) 19. Escaping The Burning House (2:32) 20. Sinking On Acid Lake (2:37) 21. Stuck In The Lava (1:44) 22. The Rescue (3:06) † Composed by James Newton Howard †† Composed by John Frizzell and James Newton Howard ‡ Composed by John Frizzell and John Van Tongeren ‡‡ Composed by John Frizzell, Steve Porcaro and Brad Dechter ° Composed by John Frizzell, James Newton Howard and Jeff Atmajian https://www.varesesarabande.com/products/john-frizzell-dantes-peak-the-deluxe-edition-2-cd
    2 points
  13. LOVE FIELD: DELUXE EDITION (CD) JERRY GOLDSMITH $ 19.98 UPC: 888072266858 Release Date: 08/27/2021 Regular price$ 19.98 Jerry Goldsmith was delighted to turn to “people pictures” in the early 1990s, seeking a change of pace from the action and genre movies that had dominated his schedule. The Russia House was the first, followed not long thereafter by another drama starring Michelle Pfeiffer: Love Field, directed by Jonathan Kaplan (The Accused). Pfeiffer and Dennis Haybert starred in an interracial romance amidst the racial strife of 1963 Texas, in the aftermath of the Kennedy assassination. Goldsmith composed a tender Americana score for Love Field, with lyrical strings and bluesy piano offering warmth and period flavorings, not unlike his gentle, humanistic music for actual 1960s dramas. The film also features moments of suspense and action—as society looked askance on relations between races at the time—which Goldsmith captured with more intense strains. Released by Varèse Sarabande at the time of the film, Goldsmith’s Love Field soundtrack has been expanded to nearly double the length for this Deluxe Edition. Also included is a bonus section of blues piano tracks performed by the prestigious rock and blues pianist, Bill Payne, which replaced some of Goldsmith’s music in the finished film. Liner notes by Tim Greiving include new interview comments with Jonathan Kaplan and Bill Payne. Kaplan recalls advice from his father, the composer Sol Kaplan: “If you ever get the chance to work with Jerry Goldsmith, take it.” Good advice! Limited to 2000 copies TRACKLIST 1. Family Album (1:48) 2. The Posters (1:38) 3. The Assassination (2:28) 4. The Note (1:16) 5. On The Bus (1:56) 6. You Win (1:52) 7. The Accident (3:24) 8. First Words (1:08) 9. The Photos (1:17) 10. Lost Luggage (10:33) 11. Repairs (1:02) 12. I Don't Mind (:36) 13. The Map (1:05) 14. What's Going On? (1:08) 15. Roadside Incident (2:44) 16. The Visitors (1:43) 17. Pretending (2:07) 18. We’re Not Alone (2:32) 19. Staying Behind (1:34) 20. The Motel (6:29) 21. The Locket (1:22) 22. Together Again (5:37) 23. Sweet Girl Blues* (1:48) 24. Travelers Blues* (:59) 25. America: Thunder, Tears, Defiance (version one)* (:55) 26. Night Rollin’ On* (:35) 27. Mixed Signals* (2:17) 28. America: Thunder, Tears, Defiance (version two)* (1:02) 29. Boogie On Out a Here* (:28) 30. So Long Blues* (:25) 31. L.F. Blues – America: Thunder, Tears, Defiance* (4:12) 32. L.F. Blues – America: Thunder, Tears, Defiance (alternate take)* (4:13) Music Composed and Conducted by Jerry Goldsmith *Composed by Bill Payne https://www.varesesarabande.com/products/jerry-goldsmith-love-field-deluxe-edition-cd
    2 points
  14. Frizzell is a very underrated composer. I really like his score for Alien Resurrection.
    2 points
  15. My copy arrived today (along with LLL's Schindler's List) while I was at work. Came home to a note from the postman to say the package was in the dustbin (trash can) so I had to go bin diving to retrieve it...nice... Anyhoo, the sound is blowing my socks off! Listening to Surprise Attack as I type and it sounds incredible.
    2 points
  16. I always like when these sets include the OST program when there's room
    2 points
  17. It also features the replacement score, which isn't bad, either. The blues edge sells it for me.
    2 points
  18. Throne Room & End Titles OST, LSO/Williams: As above, not the concert suite but worth comparison. Brass has real bite, but the tempo is far too fast for the Throne Room theme, which needs to breathe more to release its full Elgar/Walton feel. End Credits is nice and sprightly. NPO/Gerhardt: Much more suitable initial tempo. Trumpet phrasing in the first Force Theme rendition is lovely, but the snare drum flub at 0:42 is unfortunate. Throne Room theme is a bit over-smooth and oily on the strings. Oboe plays quavers at 2:06 which doesn’t match the semiquavers in my HL score: a mistake or possibly a later change? Strings at 2:28 are correct in this regard. The rall at 2:39 sounds wrong to me, and isn’t in the HL score. LAPO/Mehta: Opening brass fanfare sounds stoned rather than martial. Trumpets are much better - bold and declamatory. Same oboe difference at 2:09 as with Gerhardt, so probably the semiquavers are a later change. No tempo jiggery-pokery, thankfully. Snare drum at 3:17 onwards can’t decide where the beat is. At 3:35, there’s a lovely 6-bar violin counter-melody I’ve never heard before, but it comes through very clearly here. Rall at 4:02 is too sudden and sounds unnatural. End credits are then far too fast - was the money running out on someone’s parking meter? Skywalker SO/Williams: Opening tempo is bang-on the 110bpm given in the HL score. Oboe at 2:13 is still playing quavers! Ralls are expansive but sound natural. This one just all feels right. Revenge of the Sith OST, T13 from 6:44 (why was this included? The transition into it does not sound natural!). Throne Room theme on strings is murky and sludgy where it should be crisp and quasi-marchlike. At 9:02, we hear the oboe playing those semiquavers at last! Trumpets are generally too quiet when they have the melody and the accompanying parts intrude. There’s a dynamic jolt at 10:55 - intentional or a bad edit? LAPO/Dudamel: Well, this is OK, but just generally a bit too smooth and “Jazz FM” for my liking. Comparing this to the OST is like comparing silk with steel. I think there’s a bad edit at 2:01 which adds almost an extra beat before the fanfare comes back in. There are a couple of diminuendos (0:59 and 2:09) that are not in the score that I don’t like. For those keeping score, the oboe plays semiquavers at 2:12, so I’m going to say that was an editorial change made between 1990 and 2005. My verdict: Skywalker SO, all the way.
    2 points
  19. John Williams - Images Opened up my Quartet edition this morning and listened to the whole album on my way to work. What a weird car ride that was!
    2 points
  20. I like the current clue method. Smart people with more time on their hands than me figure out the most likely releases and because of their work, I know better than to get my hopes up
    2 points
  21. Yeah, but to be fair disc 2 of this thing has the deleted scenes we know added in again, though most fan editors would be able to come up with better transitions. I'm also curious what they are planning for the 20th HP3 anniversary since it never had any kind of PIP track on the Blu ray. My interest in the movie and score has revived because of this new set, though. I'm definitely going to try and go to another HP1 concert this year if possible. The score is so, so fantastic.
    2 points
  22. Ya know, if you wanted us to engage more properly, calling us "intolerant and narrow-minded" probably isn't the best idea. (Also, given recent rule changes, you may want to cut back on some of the subjects you mentioned in that post.) I personally just don't understand what the ultimate appeal is with having a limited item in this scenario, given that I thought it was the music and the art of the packaging (most of the time) that we are admiring at the end of the day. To give this much value towards the quantity of the item honestly seems a bit disrespectful to the hard work the labels put in, since they more likely want you to think about the general quality of the product than the legal production behind it. I just find I haven't seen an adequate enough justification for it to be appealing in this case (without pulling the card the others already have).
    2 points
  23. My dream 'never going to happen' program.
    2 points
  24. A History of Violence (2005) WOW, it's been a long since I liked a movie.
    2 points
  25. I hear there is a map to it--perhaps R2 can help.
    2 points
  26. Ah yeah. The extended edition is still pretty old though unfortunately (at least in the U.S.). I believe it was released on disc here for the first time in...2009? Chamber of Secrets has one as well, but they never did the other films (despite having Extended Cuts that aired on TV) I would hope for the future films that would consider the extended cuts and new PIP content.
    1 point
  27. I saw Eastern Promises today, excellent movie as well!
    1 point
  28. Great news, another Goldsmith to rediscover. One negative point though: at this rythm of release Intrada and Varèse better should bring back to life Goldsmith or they'll be out of idea next year!!!
    1 point
  29. I wish they released the covers without the Deluxe banner, just the way the look in physical format. This artwork is great, the samples are as well.
    1 point
  30. 🤷‍♂️ Shame they don’t upload the back cover anymore.
    1 point
  31. This is one of the few Goldsmith scores that I never had the original release for. I’ll grab this one.
    1 point
  32. And it's Dante's Peak and Love Field! Fuck yes!
    1 point
  33. That's the Tower Records Flagship Store in Tokyo, Japan. I'm not there right now, but I've been there in the past. Second to none, when it comes to CDs. They've got everything on massive nine floors! A friend sent me that pic. She knows I collect John Williams CDs....
    1 point
  34. I haven't listened to it in years (having sung it a couple of times with our choir, I think I still can't play it without singing along), but back when I was comparing recordings, this Gardiner recording was my favourite: Among other things, I love this brisk tempo in the Offertorium. Most other versions are slower to begin and lose much energy after the fugato (when the solo parts come in). Gardiner keeps pace & energy up throughout, and I find the result breathtaking (and the text still comes through much clearer than in most slower versions).
    1 point
  35. As much as I adore Intrada, they have had deficient artworks in the past. I have nothing against modernizing the fonts a bit and keeping the original artwork, like they did with War of the Worlds. However, there have been many artworks now with technical slips which indicate either time pressure or dilettantism. The missing foot from The Eiger Sanction or the green vertical line on the left from Extreme Prejudice, just to mention two recent examples.
    1 point
  36. Film is from 2018, but the soundtrack was released today. Listening now on Spotify. I think it's a fascinating score -- quite minimal, and free of the size and overtness of his famous work in the 80s and 90s (entertaining as they were). Good on him for reinventing himself a bit now that he's basically "just" a teacher at a South African college. Has kind of a Sakamoto vibe, I think. Voices and percussion/chimes. Regardless, it's rather weird to have a new Jones score out. A blast from the past.
    1 point
  37. Steve

    John Williams Chronology

    I'm recently working on a JW conducting/concert history. Will share it later in the year here. The BSO archive lists all concerts of the Pops and BSO, but are missing concerts outside Boston. And of course Johnny was quite active with other orchestras around the US.
    1 point
  38. @Jay whenever I've done lengthy write ups like you just did I often wonder if anyone cares. Dude, nice job. "I care!" From another board from Mr. Bulk: I can hear where the edit it, but I cannot hear the difference between the takes. I often don't have the ear.
    1 point
  39. I think you're right!
    1 point
  40. But that wasn't part of the question anyway. The question is "Do you prefer [releases] to be limited or not". No further qualifiers. Most of us who said we'd prefer every release to be unlimited have also explained our positions to make it clear that if the choice is between "limited releases like we currently have" or "unlimited releases, but hardly any, because they wouldn't get (or couldn't afford) the licences", we'd clearly pick the limited option. Adding unlimited digital releases to the question turns it into something completely different, too. (A relevant question that I think is more complicated to decide, but not the question in this poll) And because people have been complaining about things getting too personal (which I believe I've kept out of) and respecting opinions, and just on that very abstract level, without meaning to get personal myself: *If* someone says I want X to be produced in very small numbers because I want to have it and feel special over others who missed out on it, then that's an opinion I *accept*, but not one I have to have *respect* for. Also, everyone (or at least most people - including certainly me) are selfish at times, and that's generally ok, but just because I sometimes *am* selfish I'm not expecting anyone to have respect for it. For the choice in question, many of us evidently think that the choice comes down to "let everyone have it if possible" or "make it limited so I can feel special for having it", and that the second option is quite clearly on the selfish end. As to that other thing: Realistically, nothing is truly unlimited anyway. Many OST releases have long been out of print not because they were officially "limited", but simply because the labels didn't think they'd sell enough further copies to warrant another pressing. Rather like Intrada's "while quantities and interest remain", with the distinction that Intrada have to take their own limited space into account (while big record companies of the past kept the remaining copies in warehouses or - in actual stores). Considering how little of this stuff gets a regular release at all these days, I wouldn't be surprised if a limited release of 10k copies actually lasts *longer* than a not officially limited release by a random company who presses just a small batch and never bothers to do a followup pressing for the few hundred people who missed out on the first batch. And not even because they're greedy, or ignorant, but simply because they have to balance their production capacities between hundreds (thousand? tens of thousands?) other releases that are in much higher demand. Even the Labels often have to leave us waiting for followup pressings because their own capacities can't keep up with their relatively large number of relatively limited albums.
    1 point
  41. Agreed. As it's his image on the cover, it could be argued that he is entitled to royalties. Just how much, and for how long, is between both parties' lawyers. The original deal was set up by his parents, on his behalf, so he should speak to them. Of course he couldn't give permission for his image to be used; he was too busy sucking at his mother's tit! As to pornography; JWfan will, I'm sure, be relieved to know that I see nothing sexual in that cover, but I realize that that doesn't stop other people seeing something erotic, and unhealthy. Of course, he has to prove that the cover is pornographic, and that his patents exploited him. Good luck, with that.
    1 point
  42. @Holko Yes, sorry. You made a proposal. But I understand that the question how much they print is not only a question of win/loss but also a contractual obligation. Anyway, I did not really notice your proposal. Still I think, like Josh, digital release plus limited physical would be the best compromise for all. Why would I fight Josh? He is a nice guy and I respect his oppinion like I respect yours. And I find the comments to him particularly insulting and inappropriate. I even respect those saying that I am a selfish person. Probably, I am. Still I find the way of argumentation here particularly low level. Yes, Josh's example with the houses was not good, neither was Jerry's litany of the poor and disappointed student just longing for a little expansion, but the evil selfish people dare to find a situation alright where he is taken the chance to ever get what he desires. At the end you and some others took the discussion down to "Who thinks that current situation with limited expansions is not perfect but ok is an asshole". Actually, I voted after you wrote that, also because I thought, it must be possible here to have a different opinion here without getting offended. Probably, I should not have. I admit, that the situation, that the limited releases are currently the ONLY way to get these expansions, is not good. Digital releases in addition would be the best option, I still think that. But to give then some exclusiveness to the physical releases is ok, since they are not cheap, especially when you purchase them from outside the U.S. And I have to say as well, particularly the reason why I buy expansions is that they are the only available release of a soundtrack. BECAUSE ALL THE UNLIMITED OST ALBUMS ARE NOT AVAILABLE ANYMORE. So much for unlimited releases. Anyway, this is my last post in this thread. I am done with this topic. Really.
    1 point
  43. 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.
    1 point
  44. I think John Williams will conduct exactly the same things he conducted in the last concerts, except 1 or 2 works. Charles Aznavour was the same in his last years... singing always the same songs (not with the same arrangements though, nor the same order), the "HITS", introducing lesser and lesser new material from his latests albums. The live shows became very repetitive, but in the other hand, many people went to see him for their first time, to see the "living legend", so they EXPECTED all the hits... That's life, so lower a bit your expectations group!
    1 point
  45. Here's mine, with just the logo because I didn't want to be reminded of the movie.
    1 point
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