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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.

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.

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...

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! EDIT - Link to KittBash's spreadsheet: John Williams Chronology - WORK IN PROGRESS

All great music should be readily available in any format of listener's choosing - physical or not. Karol

Thanks! Here they are without the deluxe edition stripe:

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!

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A new Goldsmith release, how surprising!

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

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

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

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

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

Frizzell is a very underrated composer. I really like his score for Alien Resurrection.

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.

I always like when these sets include the OST program when there's room

It also features the replacement score, which isn't bad, either. The blues edge sells it for me.

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.

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!

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

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.

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).

I see you Mattris

My dream 'never going to happen' program.

A History of Violence (2005) WOW, it's been a long since I liked a movie.

I hear there is a map to it--perhaps R2 can help.

Together Again is one of the reasons the 90's is my favorite Goldsmith era. Any Kennedy-inspired score is going to pull a lot out of a composer. I love this little score.

Not for Europeans. Wow, what an ambitious score from the early 90s, a phase that was often enough not ambitious at all. This seems to be a potential hidden gem, even for advanced fans.

Here they are! No idea why they disappeared

I wonder how you get your replacement discs when you buy from Tower Records

My dream program is one that doesn't get cancelled.

So that's 6 cues composed entirely by JNH and 8 more cues that use his themes Anyone know who produced, edited, assembled, mixed, and mastered this release? Varese's PR dept continues to leave this information out. I have seen this film, but don't remember what the score is like. Going to listen to the samples in a bit!

It's the one that sounds the most contemporary, giving JW concert hall cred.

I am a big Cronenberg fan. I have seen all his movies, and I would say, this is probably his best. Naked Lunch is close. If you liked A History of Violence, you could probably like Eastern Promises as well.

Not sure. I'm sure they don't own the original album recording, which they would have sub-licensed. But it's possible that when they did their Deluxe Edition premiering the original film recording, they got perpetuity rights to the film recording at that point, just like they got perpetuity rights for all the new music they premiered on Planet of the Apes (so that LLL had to license from them if they didn't want to just reissue the original album). On the other hand, when they did non-Club (therefore not "limited") Deluxe Editions of stuff like Stargate and Poltergeist II, they clearly didn't get any sort of perpetuity deal (not even on the previously unreleased music they premiered) because LLL was able to revisit the former in a two-disc set and Kritzerland and Intrada were able to revisit the latter in two- and three-disc sets, respectively. Varese can be inconsistent at times. Usually they got perpetuity rights for stuff they released in the 90s, but sometimes there were exceptions (sometimes depending on studio, which is how Quartet was able to release definitive versions of Total Recall and Basic Instinct). Apparently among all the Patrick Doyle albums they did in the early-mid 90s, the only one they control in perpetuity is Carlito's Way (god we need a Deluxe Edition of that!) which is why LLL was able to expand Dead Again. LLL was also able to expand Pet Sematary by Goldenthal, and I think maybe Disney wasn't granting perpetuity rights to Varese in the 90s because Intrada was able to expand Iron Will. Usually for their explicitly limited Club titles, Varese didn't bother to get perpetuity rights (if you license 3000 and tell people you aren't going to make any more, why would you bother with perpetuity rights?) That's why LLL was able to (slightly) expand Magic, for instance. But then there's a case like The Ballad of Cable Hogue, where Varese continues to be able to sell it digitally years later and it seems like they control it. So there are many exceptions and it's kinda messy. Yet at the time I remember a TON of people complaining about Titus's work on the Dracula artwork! Many people didn't like how Dracula himself was made smaller and moved off-center compared to the original cover image. And others wondered why the young lady's clothing disappeared... I'm a big Titus fan too... just sayin'. Yavar

Marriner's Philips recording.

They should be more insistent with a certain other label!

I'd say that is for the most part a pretty "classic" program, aj. Evergreens and concert favourites. So not that unlikely.

I speak only English, and trust me, what you were saying was not even vaguely hard to understand.

New pic from the Arizona shoot

It seems like a pretty obvious release to want to do. Old enough for reuse not to be an issue. Popular film series that’s still going (albeit in a way that I can’t imagine it’s too problematic in terms of marketing wankers getting twitchy like the Bond marketing wankers). And it’s got themes by one super popular from one of my best know scores turned into a new score be a composer who is also popular in his own right. Slam dunk I’d have thought. So I can only imagine it’s behind the scenes issues that are stalling (around*) it. *track title joke for those wondering

This is happening after all! Just delayed. "Previously unreleased Get Back album (1969 mix by Glyn Johns)" sounds intriguing. Not an expert on the subject, how different would that be from Let It Be Naked?

Agreed, although the Hooper ones are a bit unfairly maligned, but Doyle's terrific (even if the Goblet of Fire theme sounds a bit like an old Zimmer TV theme... of all things). I'd welcome an expansion and some remastering as I find the existing release a bit tiring to listen to at times, not sure if it's the mix or the orchestration or both.

If that's the way you think and you also feel the need to illustrate it with this tasteless comparison of housing, then don't be surprised about many mad posts. He was complaining about the lack of availability and the high prices which depend on the fact that these releases are limited. Has nothing to do with this "for free" nonsense. Thus you do not seem to follow the argumentation, you instead warp his statements.

He will: Tatooine, Hoth and Dagobah!

A fine performance of a difficult piece: