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AND IT'S HERE!!! https://www.disneymusicemporium.com/product/XVCD52/legacy-collection-the-hunchback-of-notre-dame?cp=null IMO Menken's greatest work aside from Pocahontas. Can't wait! Yavar

I drop these little inconsistencies just to test your attention.

Two recent Varése's came in. LOVE FIELD: After the strains of 'Total Recall' and the less than ample rewards, Goldsmith attempted a 'genre purge', refusing from then on action and horror pictures, looking for the blessings of character dramas (Oscar bait, for the more cynical-minded). The results were decidedly mixed, with JG doing a string of chick flicks that he graced with sweet puppy-dog tunes that weren't always to the best advantage of the films they accompanied. Be that as it may, 'Love Field', written around early 1991, has the advantage of being a solid drama about race relations, so the rampant cuteness is bracketed with more somber material for the movie's stoic black character and the problems he and JFK-mad housewife Michelle Pfeiffer (the movie's set in 1963) encounter. The southern settings also beget us a blues/gospel vibe, a rare occurence in Goldsmith's work and a real shot in the arm for the score. It was released as very short album in 1993, so naturally a lot of Goldsmith's motivic work fell under the table or appeared like random musical ideas. It's by nature not the most exciting music to listen to, but a noticeable asset is the elaborate woodwind writing that recalls Goldsmith's 60's work and is a few notches above other scores of that time (especially in tandem with the deep reverb blues piano). Least pleasant are the typical jagged action moments (The Motel) that fall back on familiar clichés and feel a bit cheap in context, but thankfully they are kept to a minimum. All in all a welcome addition, with a few of Bill Payne's replacement cues, that sound like source music but are a nice bonus (Goldsmith's score got rejected halfway, which happened much more frequently from the late 80's onward). THE EIGER SANCTION: John Williams lone score for Clint Eastwood, and one wishes it were for a better picture. Part campy Bond movie, part tense mountain-climbing thriller, its elements never come together and apart from the breathtaking photography (Utah and the Swiss Alps), it's a rather unpleasant affair, with Eastwood hitting about everything offensive he could find (queers, women, toxic masculinity, and not in a charming kind of way). Williams was hired because he was a hot commodity at Universal back then and had a talent for jazz, a Eastwood favourite, even if the movie wasn't an especially 'jazzy' one. The main theme, a vaguely melancholic baroque affair with a distinctly european flavour, has at best a tangential relation to the movie. Like in the disaster movie's of that era, it was kinda hard to come up with anything fitting, so composers resorted to either locale or some other superficial element to grace them with something memorable (see also 'Cassandra Crossing' for a very similar example). The new Intrada fleshes out the other motivic elements, like the 'Family Plot'-like harpsichord idea that turns up much more often here, as well as the many suspense moments from later in the story, which unfortunately aren't nearly as exciting as i remembered them (resembling Jaws 2, surprisingly). So what we have here is a pop score with a lot o groovy variations on the main theme as a selling point, and single pieces from the fist half of the score - Friends and Enemies, the baroque montage, the fierce car chase, one of the best action cues from that time in Williams' career - as well as the Straussian alpine cues, mainly for the beguiling establishing shots of the Eiger north wall (The Eiger, First Sunset). It's all not particularly deep or insightful, but once you've seen the movie you wonder why Williams took it at all. It's very entertaining, though, once you got rid of the fat and the repetitions. My perfect 70's Williams collection is complete now.

I've told this story before, but back in the Summer of 2010 my wife and I spent several weeks in the US. We started of in San Francisco, went to LA, Vegas, the Grand Canyon and we drove as much as we could of the historic Route 66 to Chicago. From there we flew to Florida and after a week or so took a plane to New York. Just before heading out to Washington DC, we -on August 3- drove to Tanglewood for my first -and only- John Williams concert. Now I knew it is quite rare to get an autograph at Tanglewood, let alone have the chance to share a few words with John Williams, so therefore I was very content with the prospect of 'just' seeing the maestro conduct. Upon arrival, I got my first chance to see the program of the evening. To my slight disappointment, I saw that Williams would only conduct the second half of the concert and that Keith Lockhart would conduct until intermission. Just before the concert started, my wife whispered: 'Isn't that John Williams?' I wanted to respond with something like: 'No, that is Keith Lockhart...', but I noticed she was pointing at someone in the audience. And there he was, sitting about 20 meters away from where we were seated: John Williams (can you spot him?) He wasn't backstage waiting for his moment to shine, no: he was sitting enjoying the concert like anyone else attending that day. At the start of intermission, I expected Williams to make his way to the dressing room or whatever, but I noticed he stood up and amicably talked to some people around him. With my heart pounding I slowly approached John Williams and from there things start to get blurry. I know I got to shake his hand and he signed the program booklet I got at the entry point. I know John Williams was the one who suggested signing it on the upper left corner since there is would be most visible. And I know I said I came all the way from The Netherlands and he said: 'Oh, that's wonderful! Enjoy the rest of the concert my friend!' 'My friend.' Wow. Williams conducted the rest of the program, but I was in a completely different world at that time. In a way, I still am. It was a true highlight in my life and a memory I will cherish forever.

Phew. This is a big question. Beauty and the Beast: Yes, undoubtedly. The new songs are gorgeous and written in 1993/1994, so during the height of Menken's powers. "If I Can't Love Her" is an incredible song for the Beast. It does have Tim Rice as a lyricist for the new songs, and he's no Howard Ashman, but they hold up alright. Better than Aladdin even, which necessitated the same Rice/Ashman pairing but with more of an obvious difference between who did what. The Lion King you have so you know. It is very necessary. The Little Mermaid has its moments, don't get me wrong. There are some fun new numbers but overall, they made a lot of mistakes. Ending changes, bad lyrics, it's a mess. "She's in Love" is a bop though, I don't care. Aladdin is a travesty of travesties. I don't even know where to begin. Tarzan is better than you'd expect or people give it credit for. Mary Poppins is another great one. Really great new songs and really interesting new arrangements of old songs. I own this one on disc. The marriage between the old and new material is practically perfect in every way. And then the big one, Der Glockner von Notre Dame. The best it's ever gonna get for Disney on stage. Avoid the American version. If it had Tony Jay, it would be the single greatest Disney disc I own, no contest.

He helped me craft the LOVE FIELD suite. We had a nice chat about the score and what tracks I should feature that WEREN'T on the original release. -Erik-

BRAND NEW EPISODE OF THE CINEMATIC SOUND RADIO PODCAST VARESE SARABANDE CD CLUB - PART ONE http://www.cinematicsound.net/the-flag-ship-show-varese-sarabande-cd-club-part-1/ In today’s episode of THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST, Jason Drury joins Erik Woods to talk about and listen to music from Varese Sarabande Records latest three batches of CD club releases. Varese Sarabande CD Club began in the late ’80s which was a mail-order CD club of great film scores not otherwise available on compact disc. It wasn’t until 1989 did we get to see the first release. In the first batch of releases, which came out between 1989 and 1992, we got to finally hear on CD for the first time such scores as CHERRY 2000, FEDORA, VIBES, RED SONJA, RAGGEDY MAN, STAR N BARS, THE BURBS, WE’RE NO ANGELS, JAGGED EDGE and others for the first time on CD. In part one of this two-part show, you’ll hear selections from THE MATRIX by Don Davis, KNOWING by Marco Beltrami and LOVE FIELD by Jerry Goldsmith. You’ll also hear a surprise end credit suite at the end of the program. We want to thank Yavar Moradi from the Goldsmith Odyssey Podcast for his assistance with the program today. Enjoy! ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

The Wachowskis (I know only one of them is on this new movie) have this crazy contradictory mix of creative impulses/tones that really appeals to me personally. A mix of experimentalism and traditionalism, cynicism and optimism. Maybe I wouldn't put Speed Racer and Cloud Atlas in the great pantheon of classic films but who cares? They're super fun and interesting to watch.

Ludwig Goransson will return for the sequel: http://filmmusicreporter.com/2021/09/07/ludwig-goransson-to-return-for-ryan-cooglers-black-panther-wakanda-forever/

http://filmmusicreporter.com/2021/09/08/james-newton-howard-to-compose-music-for-disney-series-willow/

Pot Luck all the way!

Great news! Bob Odenkirk Back At Work On ‘Better Call Saul’ After Heart Attack

I really enjoyed the Aladdin stage show, which I think is a lot of fun and I quite enjoy the extra songs, although I don't much like the extended version of Friend Like Me. Plus it has a couple of songs that were originally written for the movie but went unused when the main character dynamics changed. Aladdin originally had a group of friends rather than a monkey, but for the stage show they cut Abu - if I remember rightly - and reinstate the friends. Notably, Proud of Your Boy, which is lovely, and High Adventure which Menken described as writing an action cue with words that works surprisingly well. However it's a shame they couldn't find a space for Why Me which was written for Jafar and was fully recorded. It's like a weird mash-up of Broadway villain song and Bond, but absolutely brilliant. It's appeared as a bonus track a few times and I fully expect it'll appear on the eventual Legacy Edition (Proud of Your Boy was also fully recorded). The other new songs are pretty decent and much better than the weirdly inappropriate power ballad written for the live action remake which is OK, but doesn't fit with the rest of the songs at all. BATB now has essentially three versions, the original film, the stage version with some excellent additional songs (my only real complaint is that it's a shame they didn't have a bigger orchestra for the cast recording as it really does deserve a 90 piece orchestra) and the live action remake which has different new songs. As @blondheim says, the new songs for the stage show are excellent. In common with the others, a lot of the songs are based on secondary themes from the movie underscore. I'm not sure whether those themes were originally expressly written for the score and repurposed as songs or if they are melodies of unused songs that Menken liked enough to turn into songs. Either way it means that the new songs connect even more with the original material. I don't really know why people are so down on the US version of the Hunchback stage show, the album seems pretty great to me, albeit kinda dialled up to 11 a lot of the time. My only real complaint (which I've expressed before) is that almost the entire lyrics of the opening, titular song, have been changed to focus on Frollo and his brother rather than Quasimodo, which seems a very odd choice to me. Both versions are well worth getting and good to know that the German version is now more readily available. I loved the Mary Poppins stage show, which makes quite a few changes to the film in terms of story and characters, but probably for the better and found the new songs to be utterly charming. Practically Perfect is probably the best song the Sherman Brothers never wrote. It is... (boom)... practically perfect. Utterly charming and witty. Agree on Little Mermaid. It's fun, but not exactly earth shattering and yes, Tarzan is surprisingly decent. The additional Phil Collins songs (depending on your view on his music) are great. I always loved Phil Collins' songs to be fair; Son of Man, You'll be in My Heart and Strangers Like Me are especially great. I like that they didn't try to extend any of the original songs for the stage version, as so often is the case. Collins writes pop songs, they aren't meant to go on for 7 minutes. Also, another improvement is that the characters sing the songs rather than the songs being non-diegetic as in the film. There's an interesting YouTube video about how it disconnects the viewer in a way that isn't an issue when the characters are singing. Oh and a PS... some custom cover art for Hunchback Legacy Edition... Fits the style and I prefer it slightly to the actual artwork. It was from a Pinterest page which had a load of Disney (and non-Disney) animated movie album alternative artwork. The one for Prince of Egypt was especially great.

I'm pretty sure when Bruce Botnick spoke with The Goldsmith Odyssey about this, he said the two discs were absolutely packed. I'm sure they had to prioritize what to include. People who want the cast albums can buy the cast albums. I'm not sure fans of the film/film score would have necessarily been happy about having to pay for more than a 2 disc set (four, five, or maybe even six discs would be required...if including every one of the musical cast albums in full). I think it makes sense that they include the complete music written for the film, plus any demo material and such, and then it's a cool bonus for them to also fill out the rest of disc 2 with what they can...in this case some of the musical. For anyone interested, the 1999 German cast recording is pretty inexpensive secondhand: https://www.discogs.com/Alan-Menken-Stephen-Schwartz-James-Lapine-Disneys-Der-Glöckner-Von-Notre-Dame-Die-Höhepunkte-Der-W/release/5982656 The English cast album recorded in 2015 does seem rather harder to find... https://www.discogs.com/Alan-Menken-Stephen-Schwartz-Brent-Alan-Huffman-The-Hunchback-Of-Notre-Dame-Studio-Cast-Recording/release/9157797 And I'm not finding the German 2017 recording on Discogs easily, but here's a review of it with a cover image: https://www.musical1.de/news/nun-auf-cd-der-gloeckner-von-notre-dame/ Yavar

Reneissance Masters in general, yeah, kind of! If only Hans was Verrocchio and Powell was Leonardo

Worth noting that Williams wrote both versions for the film itself: the loud version is an insert that replaces the quiet ending called 'Finale Tag', but it's not yet known if it got recorded. As for why: pops concert selections tend to go for flashy endings over subtle ones, so a lot of conductors will appreciate the option, especially for outdoor venues where a quiet ending like that can easily get swallowed up.

I really don't care about the movie or its score as Davis isn't working on it. And the Wachowskis haven't produced anything really great since, what, 1999?

Saw the film last night and loved it! Loved the CGI-heavy third act a little less than the compelling and visceral first two acts, but it was all very well done. Loved all the actors, loved the characters, was impressed by how emotionally resonant the relationships were and how compelling the villain was. The score was generally quite good and aided the film well, although I wish there'd been a more memorable main theme. The Chinese flavor was well integrated with the western orchestra. I highly recommend everyone go check out the film in theater, and maybe sample the score on Spotify before purchasing digitally. Yavar

"You know you didn't even give them a good *bang* at the end of songs, to let them know when to clap" - Salieri

I was at the Sunday concert and it was a lot of fun. Of course, since I have finished my podcast, I knew there would be no new film music for me to hear, but that was fine. The Overture to the Oscars was new, I think? I have to look it up, but it sounded like the music that opened the 2002 Oscars when he was co-musical director. I enjoyed seeing JW looking so lively at 89 years old. I spoke with a woman after the show, and after I told her John Williams was five months away from turning 90, she said, "He looked like he was in his 70s!" But the highlight of the show was meeting Eduardo Victoria, who was a cohost on my podcast for the "War of the Worlds" episode. It was the first time meeting one of my cohosts in person, and we had a wonderful pre-show conversation.

I’ve met him twice, they aren’t terribly interesting stories but here is the first time meeting him: I flew to Boston to see Williams conduct the Boston Pops in 1996, I was 20 years old. It wasn’t a film music concert or anything and he didn’t conduct any of his own music. I asked the Pops staff if it would be possible to meet him, and they let me go backstage to meet him (I can’t even remember if it was before/after the concert or during intermission). Keith Lockhart was back there too, though he wasn’t conducting that night. I said hello and shook his hand. I got to spend a few minutes with JW, I can’t even remember what I said, probably just fanboy gushing. I was nervous as hell. Williams was very nice and thanked me for coming all the way from Baltimore to see him. He signed my Star Wars Anthology disc 4, which I then got framed. I didn’t get a picture with him, but I would on my next meeting…

Johnny Klimek and Tom Tykwer have been confirmed to be scoring The Matrix Resurrections, replacing Don Davis and Juno Reactor, who collaborated on previous installements. Source I must confess that I am disappointed. I was hoping to hear Davis and Juno Reactor together one last time. Let's hope the score is decent at least (I confess I have no knowledge of Klimer and Tykwer's previous works)

Happy Star Trek day everybody! 55 and still going!

Absolutely. We are planning to dive into the back catalogue at some point. Any scores that you want to hear specifically? You guys are killing it, Yavar. I'm just an old radio guy but you guys are truly using the podcast platform the way it was meant to be used. I'm always looking for advice from old and new and there was no way I was going to assemble that LOVE FIELD suite without you, Yavar. You've been a great supporter of my show and I will do my best to support your program anyway I can. I did get "Lost Luggage" in there... not the complete cue but the portion I chose, which was a big chunk, segued nicely out of "The Photos"

Lately: HARRY POTTER 1. Far and Away. HTTYD2. Home Alone. Tinker Bell 1-3.

Erik's an old broadcasting pro. I'm sure he doesn't need approval from a young whippersnapper like me who's only had a podcast for a few years... Yavar

Thanks for this Erik. I'm looking forward to listening. Will there be other V/S Club shows beyond part 2?

@Jay I appreciate you quoting my post like that, but I think @Edmilson was asking why The Final Conflict (which is still incomplete) wasn't included in the thread poll while Damien: Omen II (which was the only original Varese Omen trilogy Deluxe Edition that was complete) was included. To which the answer is: And as I later pointed out to Brundlefly (but presumably too late to affect this poll; maybe next time), this assumption may be incorrect: Varese has not actually confirmed publicly whether they control The Final Conflict OR the film recording of Damien: Omen II (which they did premiere after all in their Deluxe Edition, even if they would have sublicensed its pairing of the original album recording). Yavar

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Der Glockner von Notre Dame, the German cast album, is brilliant. James Lapine helped with the show's German transformation. It is much darker, Esmeralda dies, the gargoyles are figments of his imagination, etc. if you can find it in lossless or on CD, grab it immediately. It is one of my all-time favorite discs to spin. The Act 1 Finale, Esmeralda, will leave you breathless.

No alternates, but a ton of demos, synth demos and... german versions?

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I listened to Return of the Jedi yesterday and had a shitload of fun with it. Almost forgot, how good it was. Of course, I'm referring to the 1993 Anthology program.

That's a great picture. It shows you've got style, with a healthy distance from the fan boy attitude.

That thread was fun! Certainly transgressed a whole bunch of forum rules.

Oops! I actually just forgot about Looney Toons lol. I think I was considering Timeline as his “Last Score” because it finally got released after he passed. My mistake.

Nice, I was there too, at the Barbican in 1996. I managed to thank him for his music and inspiration, he in turn thanked me for coming to the concert. We shook hands and he signed the booklet of my brand new CD w/ Summon the Heroes. Will never forget this.

This score very much sounds like a (semi-rare) Brian Tyler score where Tyler actually put in effort. So, pretty good.

That's actually not clear now. Back in my 2019 Goldsmith Odyssey interview with him Robert claimed that Masters Film Music still controlled Lionheart, The Final Conflict, and a few other titles... but then Varese put out Lionheart: The Deluxe Edition (though they later had to add his name and the Masters Film Music logo to the packaging). I think it's possible Townson doesn't control The Final Conflict after all... but bizarrely he *does* (confirmed by Varese) control The 'Burbs! Varese can't do a new edition of that one. Raggedy Man was a straight reissue (some say remastered for the worse), not an expansion. While I think Criminal Law is complete (or very close to it) on the original album, I actually learned this past year that Fierce Creatures is not! We have long heard that the album has multiple cues Goldsmith wrote specifically for the album, right? Well, what hasn't been widely known is that many of them were extended album versions of cues in the film -- of which there are several where the film versions (often noticeably different) remain unreleased! I haven't figured it all out myself but I think there might be 10 minutes or so of unreleased music which is in the film. Finally, to be more exact about a few of your numbers in the poll: Timeline on Varese is 47.5 minutes. Complete sessions leak is about 26 minutes longer. L.A. Confidential on Varese is under 30 minutes! (If you add Goldsmith's unique 22 second "Badge of Honor" from the song album it goes just over half an hour.) The sessions leak is about 46 minutes longer! For City Hall, in terms of what's in the film but not on album, 11:40 is unreleased (could be more with any alternates or unused cues): https://www.filmscoremonthly.com/board/posts.cfm?threadID=110759&forumID=1&archive=0 For Malice, it's 7:15 minutes in the film but not on album: https://www.filmscoremonthly.com/board/posts.cfm?threadID=110814&forumID=1&archive=0 For Rudy, there is an isolated score track on a DVD release of the film which only runs 12 minutes longer than the Varese album. (Again, there could be alternates or something, but I'd be surprised if there were 20 minutes unreleased.) The Varese album for Matinee is just shy of 38 minutes. I have a version which is 72 minutes with unused and alternates, so if Varese includes those an expansion would be 34 minutes longer. The Varese for Mom and Dad Save the World is 40 minutes. Terrible sounding sessions boot is 57 minutes -- about 10 cues are missing so most of those are fairly brief: https://filmscoremonthly.com/board/posts.cfm?threadID=113251&forumID=1&archive=0&pageID=1&r=500#bottom Oh, and Varese released the film recording of both Flint scores on CD in the 90s -- that's why they control them in perpetuity! Over half of each score is unreleased, because just like The Other they got Twilight Time iso score tracks which are significantly longer (but which actually omit some music released by Varese... it's possible each of those scores is approaching 70 minutes in length on its own). As for Angie and Mr. Baseball, we don't know how much is unreleased time-wise, but we do know how many cues are unreleased (and what their names are): It's 8 or 9 cues missing from Angie: https://www.filmscoremonthly.com/board/posts.cfm?threadID=110814&forumID=1&archive=0 Only 4 or 5 cues missing from Mr. Baseball: https://www.filmscoremonthly.com/board/posts.cfm?threadID=138082&forumID=1&archive=0 Re: Mephisto Waltz and The Ballad of Cable Hogue -- read this thread. It seems that neither were complete before: https://www.filmscoremonthly.com/board/posts.cfm?threadID=140019&forumID=1&archive=0 From MarkS: In addition the mix on album is extremely different from that in the film and I think a restoration of this score would be a revelation. From Steven Lloyd: Hope the extra info is helpful! Yavar

I do believe both are true (that there are projects where the bulk of the work is handled by others, with there being key ones where he's intricately involved in the whole process). It's just that with the lack of discussion from anyone actually involved, even alleged second hand accounts mean little if the official credits seem to paint a certain picture. Zimmer and co. taking turns on each cue sounds plausible to me, but I suppose that just leads to more confusion for those who think it's all noise anyway. What are ya gonna do? As for the suites themselves, it's hard to tell if even those are HZ solo a lot of the time anymore, given the tiny bits of info we get. Xperiments only has one suite that is credited to just Hans (with MoS being a similar deal), and there's suggestions over other contributors being part of the driving force in key themes on other projects (though these tend to be ones that already advertise themselves as a group effort to begin with). WW84 only took months for the cue credits to show up (and we already know one of them is a suite), so who knows if the Sketchbook there is a similar deal. Though as for Dune, it seems the only actual credit here is on the last track, with contributions from Tangerine Dream's Klaus Schulze. So unless this was merely as much leeway as WB were willing to give Zimmer (since I suspect WW84's credits were only delayed for awards reasons), then this likely is the most HZ has done suites on his own in quite a bit.

I saw John Williams at a grocery store in Los Angeles last year. I told him how cool it was to meet him in person, but I didn’t want to be a douche and bother him and ask him for photos or anything. He said, “Oh, like you’re doing now?” I was taken aback, and all I could say was “Huh?” but he kept cutting me off and going “huh? huh? huh?” and closing his hand shut in front of my face. I walked away and continued with my shopping, and I heard him chuckle as I walked off. When I came to pay for my stuff up front I saw him trying to walk out the doors with like fifteen Milky Ways in his hands without paying. The girl at the counter was very nice about it and professional, and was like “Sir, you need to pay for those first.” At first he kept pretending to be tired and not hear her, but eventually turned back around and brought them to the counter. When she took one of the bars and started scanning it multiple times, he stopped her and told her to scan them each individually “to prevent any electrical infetterence,” and then turned around and winked at me. I don’t even think that’s a word. After she scanned each bar and put them in a bag and started to say the price, he kept interrupting her by yawning really loudly.

I REALLY hope that Amistad gets the remastered and expanded treatment, if not before the end of this year, then definitely sometime in the beginning or middle of next year to commemorate the film’s 25th anniversary.

I must admit I love atmospheric scores, it's something different. I understand it surely must be "easier" to adjust atmospheric compositions to fit the first from the last edit of a modern movie... I don't think I'll become a "Dune" fan with this movie, but I'll see it as soon as we will be able to rent it.

And three minutes of leftovers… And calling it a williams release would be a disrespect for the main composers of volume 2….

Shang-Chi as a movie was amazing. Cast, story, VFX & cinematography are mindblowing. Something totally new for the MCU The score, for me personally, is all I wanted. Big orchestra, Chinese instruments and themes. I also thought it was great that they not always decided to score the action but the drama in the fight/action scenes. That really gave a strong emotional connection with the characters and made it clear that they were not just fighting for cool scenes. The story drove the action. And that really trancended beautifully in the music.

There's a little cue or extension after "License: 2 Kills", "African Rundown" has a couple of film inserts and "Blunt Instrument" has a different film ending...otherwise, no. The most substantial unreleased music is the film version of You Know My Name.

This great segment of Rounds (18:36-19:45)... Reminds me a bit of this equally great passage from "Dream County" in The BFG (7:08-7:53)... Always cool to spot little connections between JW's concert and film work!

I wish! Sadly that score would be prohibitively expensive to expand unless the AFM changed their fee structure for post-WOTW scores (or granted LLL a waiver, maybe because the score was recorded so close to the cutoff). It's definitely one of my most-coveted expansions though, stunning score. The unreleased cue when Sayuri enters the garden is sublime (and even has an alternate that went unused!) jurassicjello · 8M2 Entering The Garden (Flute Version)

So I came across this on www.hans-zimmer.com. Seems to be the cue sheet unordered but including the bits with John Wiliams material: Couple of interesting things. Williams in the film cuesheet seems to have been credited only for "his" cues but never for others' cues (even if they use either old Star Wars music or new JW Solo material) : OPENING (JP) ENFYS STANDOFF (JP) FAILED HEIST (JP) KESSEL RUN PT 1 – TIE CHASE A (JW) KESSEL RUN PT 1 – TIE CHASE B-1 (JP) KESSEL RUN PT 1 – TIE CHASE C (JW) KESSEL RUN PT 1 – TIE CHASE D (JP) KESSEL RUN PT 1 – TIE CHASE E-2 (JP) KESSEL RUN PT 2 – TIE CHASE F (JP) KESSEL RUN PT 2 – MAW (JP BS) KESSEL RUN PT 3 – LIFTOFF (JP) KESSEL RUN PT 4 – LANDING (JP) L3 & FALCON PT 1 (JP) L3 & FALCON PT 2 (JP) L3’S SACRIFICE (JP) SKYPE SHOWDOWN (JP) CHEWIE UNTAMED PT 1 (JP AW) CHEWIE UNTAMED PT 3 (JP) LANDO’S CLOSET (JP AW) SAVAREEN TENT A (JP) SAVAREEN TENT B (JP AW) CORELLIA CHASE (JP BS) DRYDEN FIGHT (JP AW) DRYDEN FIGHT PT 2 (JP) DRYDEN YACHT DUET (JP) ENFYS NEST ARRIVES (JP BS) MINES PT 1 – HEIST (JP PM) MINES PT 2 – FINDING COAXIUM (JP) MINES PT 2 – CONT’D (JP) MINES PT 3 – BREAK-OUT (JP) REAL THING DOUBLE CROSS (JP PM) SPACEPORT (JP AW) THE BEAST (JP BS) BECKETT DEPARTS (JP) BECKETT LEAVES (JP) BECKETT SHOWDOWN (JP) CRAWL (JP) CRAWL (FROM 1M04-05) (JP) CRAWL (FROM 2M13) (JP) CRAWL (FROM 4M28) (JP) CRAWL (FROM 4M30B) (JP) LANDO (JP) MAIN ON ENDS (JP) MAIN ON ENDS (FROM 5M32) (JP) BACK TO DRYDEN’S (JP) BLACKMAIL (JP) BUNK – PROXIMA (JP) CAMPFIRE (JP) CONVEYEX PT 1 (JP) FAMILY STORIES B (JP) HAN & QI’RA REUNITE (JP) JUNGLE CANTINA SOURCE (JP) MEET DRYDEN (JP) MIMBAN BATTLE PT 2 (JP) MIMBAN BATTLE PT 3 (JP) SABACC GAME (JP) SABACC REMATCH (JP) SURVEYING CONVEYEX (JP) TESTING DRYDEN’S PATIENCE (JP) TO TATOOINE PT 1 (JP) TRUST NO ONE (JP) WALK TO DRYDEN’S PT 1 (JP) WALK TO DRYDEN’S PT 3 (JP) YACHT PARTY SOURCE (JP) YOU DON’T KNOW EVERYTHING (JP) THE HAN SOLO THEME (JW) This is what I could find. Some of the cues I couldn't find at all like Family Stories A, Gonna Be A Pilot or To Tatooine Pt 2 probably have all one thing in common : I guess they're 100% credited to JW. That cuesheet matches in fact with the credits I posted above that come from JP's team. Interestingly, the 2018 Album does credit Williams very specifically on every cue any of his material is used (The % come from the fact Powell & Mounsey are ASCAP, Williams, Willis & Sener are BMI) : ADVENTURES OF HAN (HAN SOLO THEME) JW 100% MEET HAN JP 28% JW 72% CORELLIA CHASE JP 50% JW BS 50% SPACEPORT JP 55% JW AW 45% FLYING WITH CHEWIE JP 48% JW AW 52% TRAIN HEIST JP 92% JW 8% MARAUDERS ARRIVE JP 55% JW BS 45% CHICKEN IN THE POT JP 100% IS THIS SEAT TAKEN? JP 77% JW 23% L3 & MILLENNIUM FALCON JP 86% JW 14% LANDO’S CLOSET JP 100% MINE MISSION JP 98% JW 2% BREAK OUT JP 78% JW 22% THE GOOD GUY JP PM 74% JW AW 26% REMINISCENCE THERAPY JP 30% JW 70% INTO THE MAW JP 47% JW BS 53% SAVAREEN STAND OFF JP 94% JW 6% GOOD THING YOU WERE LISTENING JP 100% TESTING ALLEGIANCE JP 51% JW AW 49% DICE & ROLL JP 65% JW 35% Credit to Hybrid Soldier.