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Forgive me for being so direct but I've got something to get off my chest. Sorry if anyone takes it too personally... Just trying to reframe some things for you. Those labels release what they can and when they can. Sure, I'd like to have my Willows and Indiana Jones out by now. But that's not the reality of it. So expressing displeasure or disappointment publicly on message boards or social media achieves absolutely nothing. They know what everyone wants and would give us just that right now if they could. Because it makes no financial sense for them to withdraw these things. They're not out of touch. If you are not interested, just move along. No point of going public with negativity or letting everyone know how disinterested you are. No value in that. It only reinstates the point that the film music community is immature and spoiled. If there's nothing in the batch then be grateful you get to save up more money for Christmas. Or save up for the upcoming titles you might actually want. Or get the titles you didn't get to buy earlier. Whatever. You're not actually losing anything here. Those "desired" titles will come when they will come. Karol

Nessun problema Many of your questions will be answered soon by Mike himself in an upcoming podcast episode on The Legacy of John Williams.

I did some consultancy on this project so I will probably come out biased, but the only thing I can say is that this release is worth all the time, money and attention of any serious John Williams fan. It's truly a wonderful presentation. Courage's involvement is known since 1971, as he's credited in the main titles. Williams' Oscar is more than deserved. It's a massive work of arranging, orchestration and also composition.

Am I the only one who is completely surprised by the fact that the batch doesn't include any Goldsmith at 20th at all?

So this is on sale here: https://www.disneymusicemporium.com/product/XVLP166/ And looking at the tracklist, it seems like Disney has curated something beautiful:

I think, nobody here said anything negative about the label itself. And I see no issue with expressing decent disappointment on the offering after the same people where jumping around here, expressing their hopes and desires for that event on the board since days, partly even weeks, which is also kind of viral promotion. To ask them, in case their expectations are not met to remain silent and pass by is hypocritical to a certain degree. If this is no discussion board, but just a promotion platform let me know.

Man. The Design of this release is so freaking stunning. Jim Titus = The John Williams of soundtrack specialty label graphic designers … 😉

Disney pulling out all the stops. Let's have a round of applause for the management team at Disney Music.

Well, fingers crossed for 25th Anniversary Amistad and 20th Anniversary Catch Me If You Can next year then...

Can I get a permit to assassinate these two on dismissing the existence of the Eiger Sanction expansion?

This entire year has been extremely underwhelming in terms of expansions from any of the labels.

HOLY SHIT What a neat idea, this would be so nice to have!

Dude. Eiger is my favorite CD this year. (Ehhhh... Nope, I love Always, but Eiger is better.) And I've only seen the first 15 minutes of the movie. Do yourself a serious favor. At the very least check out the music on YouTube or something. Plus you'll get the good version of the cover. Oh, and Always is terrific as well.

I dont have any versions of FIDDLER ON THE ROOF-So this will be welcomed as a completist set for me.

Soundtrack sourcing has changed so much, and we're all running to catch up. I don't want to jump to any conclusions, but, look: FIDDLER ON THE ROOF, and JWfan, two things separated by 50 years of soundtracks, have just been suddenly thrown back into the mix, together. How can we possibly have any idea what to expect?

This is a great opportunity... to save a lot of money.

This thread is gonna get bumped every year the same way the Facebook page "Daily Updates on Michael Jackson's Health Condition" posts each day...

Well become familiar with it right now! it's so great!

When somebody bumps the topic after months but it's not an announcement.

Unless you're a Goldsmith fan that is.

Thanks for the heart attack

Now that LLL's final batch of 2021 is announced, let's look back at a statement MV made back on May 1st of this year, here. "We currently have 8 titles still waiting approvals at UME which has been going on for a long long time Two titles at Sony Music 1 over at WMG And a host of others all over town. X-Men was the first title to get out of that UME log jam. Hopefully others will follow shortly." Since that post, LLL has announced: UME/UMG (Universal music): Always Somewhere In Time Glory The Diary of Anne Frank Fiddler On The Roof SME (Sony music): none WMG (Warner music): A.I. Artificial Intelligence re-issue Star Trek 2: The Wrath of Khan all over town Caboblanco (Silver Lion Films) Dragonslayer (Paramount Pictures) Infinite (Paramount Pictures) Internal Affairs (Paramount Pictures) Waiting for Barbarians (Pianella Music) Time Tunnel Vol 2 (Synthesis Entertainment, 20th Century Studios and Legendary Pictures) Snake Eyes (Paramount Pictures) Woman Warriors (Higher Purpose Production) Stripes (Sony pictures) Eacape From LA (Paramount Pictures) Goldsmith at 20th Vol 4 (20th Century Studios) It's A Wonderful Life (Paramount Pictures) The Next Karate Kid (Sony Pictures) Love Actually (Universal Pictures) Friday The 13th Ultimate Cut (Paramount Pictures) So remaining from his May 1st post are still 3 more Universal Music titles, and the 2 Sony Music titles (which incidentally, he first mentioned back in February 2019) This really shows how much easier it is for the labels to license and release a score entirely controlled by one entity (IE, the film studio), than it is to ones that involve a music label too!

Quality post!

FIDDLER ON THE ROOF: 50th ANNIVERSARY REMASTERED LIMITED EDITION (3-CD SET) LLLCD 1576 Music Adapted and Conducted by John Williams Soloist: Isaac Stern Limited Edition of 5000 Units RETAIL PRICE: $39.98 STARTS SHIPPING DEC 3 La-La Land Records, MGM and Capitol Records proudly present a 3-CD limited edition 50th Anniversary remastered and expanded reissue of acclaimed composer John Williams’ Academy Award-Winning score to the classic 1971 motion picture adaptation of the Tony Award-Winning musical FIDDLER ON THE ROOF, starring Topol, Norma Crane and Leonard Frey, and produced and directed by Norman Jewison. The timeless songs (“Matchmaker,” “If I Were a Rich Man,” “Sunrise, Sunset,” etc.) were written by Jerry Bock and Sheldon Harnick, and the film soundtrack features virtuoso violin soloist Isaac Stern. Orchestrations for the film are by Alexander Courage and Williams himself. The enduring big screen film version of FIDDLER ON THE ROOF, produced by The Mirisch Company in association with United Artists, premiered 50 years ago and went on to become one of the year’s biggest hits and earn Academy Awards for Cinematography, Sound and Best Adapted Score. The winner in the latter category was none other than John Wiliams, soon after to become the world’s most famous film composer and win Oscars for his own now-classic music for JAWS, STAR WARS, E.T. and SCHINDLER’S LIST. In celebration of the film’s 50th anniversary, this deluxe presentation, approved by Mr. Williams, offers a fully restored, remixed and remastered original soundtrack recording program on Disc One, a second disc of alternate versions, and a third disc featuring early “playback” versions of the songs as well as selections of Williams’ underscore and other musical material released for the first time. (Some tracks on Disc 3 are derived from the finished film mix and may contain sound effects). Produced, restored, mixed and mastered in high resolution by Mike Matessino (from the 1-inch 8-track soundtrack masters for the main program material), this limited CD re-issue of 5000 units includes an exclusive, deluxe essay booklet by Matessino that provides a detailed account of the creation of the score, which was recorded at Anvil Studios in England, and never-before-seen photos from the recording sessions. A second booklet provides a colorful program guide. The joyous art design is by Jim Titus. TRACK LISTING: CD1 REMASTERED ORIGINAL SOUNDTRACK RECORDING 67:40 1. Prologue And Tradition & Main Title 11:21 2. Matchmaker 3:58 3. If I Were A Rich Man 5:24 4. Sabbath Prayer 2:41 5. To Life 6:14 6. Miracle Of Miracles 2:06 7. Tevye’s Dream 6:44 8. Wedding Procession 1:33 9. Sunrise, Sunset 3:52 10. Wedding Celebration And The Bottle Dance 3:56 11. First Act Finale 1:28 12. Entr’acte 1:49 13. Do You Love Me? 3:15 14. Far From The Home I Love 3:02 15. Chava Ballet Sequence 2:36 16. The Rejection Scene 1:40 17. Anatevka 3:43 18. Finale 1:52 CD2 ALTERNATE AND FILM VERSIONS 65:18 1. Prologue And Tradition & Main Title (Alternate) 11:31 2. Matchmaker (Alternate) 3:42 3. If I Were A Rich Man (Alternate) 4:58 4. Sabbath Prayer (Alternate) 2:41 5. To Life (Alternate) 6:19 6. Miracle Of Miracles (Alternate) 2:09 7. Tevye’s Dream (Alternate) 6:55 8. Sunrise, Sunset (Alternate) 3:52 9. Wedding Celebration And The Bottle Dance (Instrumental) 3:48 10. Any Day Now (Unused) 2:45 11. Do You Love Me? (Alternate) 3:13 12. Far From The Home I Love (Alternate) 3:02 13. Chava Ballet Sequence (Alternate) 2:36 14. The Rejection Scene (Instrumental) 1:33 15. Anatevka (Alternate) 3:42 16. Finale (Alternate) 2:05 CD3 PLAYBACKS AND ADDITIONAL SCORE 56:02 1. Timpani Fanfare :18 2. Matchmaker (Playback Version) 4:46 3. If I Were A Rich Man (Playback Version) 5:03 4. Sabbath Prayer (Playback Version) 2:41 5. Tevye Thinks On It 1:04 6. To Life (Playback Version) 6:47 7. Street Scene And Riverbank :58 8. Perchik And Hodel Dance :46 9. Tevye’s Monologue 2:40 10. Miracle Of Miracles (Playback Version) 2:21 11. Chava Takes The Book :43 12. Dream Epilogue :28 13. Wedding Preparation :52 14. Wedding Procession (Playback Version) 2:19 15. Sunrise, Sunset (Playback Version) 3:45 16. The Cornfield – Tradition :48 17. Socio-Economic Relationship :35 18. Any Day Now (Playback Version) 2:46 19. Tevye’s Rebuttal 2:35 20. Do You Love Me? (Playback Version) 3:14 21. Far From The Home I Love (Playback Version) 2:27 22. Russian Church 1:36 23. Anatevka (Playback Version) 2:44 24. Exodus (Excerpt) 1:30 25. Fiddler On The Roof (Instrumental) 1:46 Three-Disc Total Time: 3:09:00 Some tracks on Disc 3 are derived from the finished film mix and may contain sound effects #fiddlerontheroof

I saw it last night, and thought it was good fun! The action scenes were all very well staged; I particularly loved the Cuba sequence (and Ana de Armis 😍) and the brutal staircase one-shot sequence at the end was thrilling. The score was surprisingly good, probably my favourite since Casino Royale (I never quite got into QoS, and I’m not at all a fan of Newman’s scores). Loved all the Barry quotes, and more than a few cues could’ve been by Arnold. I don’t understand all the grumbling about the ending. It was perfectly fine having this Bond die; his story started in Casino and ended here. And what a twist of the knife it was having him infected with the nanobots so he couldn’t return to Madeline and Mathilde. Of course Bond can’t settle down, it could never work even if he’d not been infected and survived - he’s not a “good” man and he can’t have a happy ending. The death of Blofeld, Bond having a child, and the prospect of a simpler life were all nods to Fleming’s final novel “You Only Live Twice”. If you’re going to tell the story of Bond’s end then you may as well get it from the creator. I’m very curious to see where they take the franchise next. I expect it’ll be much more episodic like the old days. Craig’s era was one long story, and while very flawed I appreciated the fact it tried something different. I’ll miss Craig a lot.

Fixed.

Those chunks cut out of Desert Chase with a butcher's knife are especially beautiful curation.

Doc Ock: "Doctor Otto Octavius" *kids laugh* Fuck the MCU for turning one of the best superhero films and villains into a bad joke.

Paul discovering "Get Back" on his bass out of thin air is exactly what I wanted from this. That was magical. Watching them play through Let It Be roughly together for presumably the first time was also a highlight.

My thoughts Fiddler - instabuy Diary of Anne Frank - unfamiliar (never even seen the movie), will listen to samples Next Karate Kid - unfamiliar (never even seen the movie), will listen to samples Friday The 13th - I have seen all the old movies, and know I won't enjoy any of their scores outside of them Love Actually - Seen the movie and like it; Do not remember anything about it's original score. Will check out the album on Spotify Huge title #1 - can't wait to find out what this is Huge title #2 - can't wait to find out what this is I assume the batch was hoped to be Fiddler, Frank, Love Actually, and the two huge titles, and then Friday the 13th and Karate Kid were moved forward from January to now when it was clear the huge ones wouldn't be ready

Definite buy from me (but what isn’t as you all likely know). I’m excited because of my love of the film - one of the first I truly remember seeing in a theater as a small kid. I am also very excited that Mike wrote a booklet on this too. I know he has left that to others in some recent releases so he can focus on the music. So, that makes this a very special one indeed for him to have done that.

I have the 30th anniversary of Fiddler On The Roof but don’t listen to it much. I’ll probably get this since Mike Matessino worked on it. I am excited the Diary of Anne Frank is finally released.

I started watching yesterday morning. I liked it. But I think if you aren't already interested in the Beatles that this will not change your mind. I did like the intro with the brief history. What's the best Beatles documentary overall? BTW @Jay I made a playlist from your chrono order and started listening. My son asked "Why are all of these songs about girls?" I told him it was because they were 20 and that it would change and they'd start singing about taxes.

Just wanted to give a shout-out to Jim Titus on that spectacular artwork, too. What a treat! He gets better with every release!!!

Expressing disappointment is natural, but it often seems to be framed by the inherent assumption that it must contain a tentpole score to be worth something. I'm convinced some people really thought they were going to announce a new Hook out of nowhere. I've been buying a ton of Game of Thrones albums the last few days, so I'm happy to have a breather till the new year

Well said, @crocodile. Personally speaking, a new, C&C, remastered edition of FIDDLER ON THE ROOF - with original music by John Williams, thank you very much! - is an instant buy. If I went down to my local H.M.V., and saw this, I'd be dancing all over the store, never mind complaining! Have we all come to expect too much?

Woke up at 4am to wait in line outside of Best Buy. Got a pretty good Black Friday door Buster deal on a few new aspect ratios.

Congratulations!

Is it candy?

I’m not sure @Jay has ever owned a copy of Fiddler either

Don't worry, only intolerant people can be negatively affected by C&C. I hope it's not your case!

Oh thank God. I couldn’t start my morning until I knew you were happy with a previous release. Phew!

There is no clear template from a classical music piece that JW used for his Banquet cue, it's 100% JW stuff. Joel McNeely is a wonderful composer and a true nice chap, but here he was adhering very very closely to the template of the temp track, which was of course Hook.

This is a favourite of mine. Instant buy for me! I wish it had a chronological version, though, with no dialogue/monologue. Only singing and Williams's score. Really looking forward to the sound upgrade - we're lucky to have Matessino, guys!

Watch those two huge titles be something we don't care about.

Indeed. Between the fact that a lot of the good stuff has already been released, the stupid post 2005 rule, and Disney being dumb I think the golden age of releases has past unfortunately.

I'm giving you one warning. That was it.

According to your bio., you live on Tatooine, and I've no idea what fucking time zone they use.

Willi Bogner's Fire and Ice. And Close Encounters of the Third Kind, the version with the long boring sequence inside the spaceship. The film started at 23:00 and inside the spaceship I couldn't stay awake.