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This has been on YouTube since February and I can't stop laughing at this Internet oddity.

"Can't we get something more uplifting, like SpaceCamp?"

I usually don't start new threads for my covers but I feel this one is quite special ! Theme from Sabrina has always been one of favorite JW pieces and I recently felt like playing it on my French Horn I ended up doing a mix of the original piece and the violin version, to which I also added little woodwind lines here and there. The backing track I used is the CD version of the theme, and to make things more interesting visually I synchronized the great video of JW performing it with the Boston Pops conducted by Seiji Ozawa ! (a video originally posted and recently upscaled by my good friend @Martyprod Thanks man !!) And so there it is, hope you'll enjoy it

Track list Jurassi-logos / Dinow This A Dinosaur In The Ranching Business It's Like Herding Parasaurolophus Upsy-Maisie Clonely You / The Hunters Become The Hunted The Campfire In Her Soul Hay Of The Locusts A Sattler State Of Affairs / Alan For Granted / Sattler! I Barely Know Her The Wages Of Biosyn Free-Range Kidnapping A-Biosyn' We Will Go This Dodgson Burns Bright / The Maltese Dragons You're So Cute When You Smuggle In Contempt Of Delacourt / Dance Of The Atrociraptors Da Plane And Da Cycle You're Making Me Feel Wu-zy The Geneticist's Gamble / Cicadian Rhythms Therizinosaurus Will Be Blood / Land Of The Frost A Dimetrodon A Dozen She Shoots / She Scorches Gigantosaurus On Your Life Ladder And Subtract / What's Your Major Malcolm Function / Six Degrees Of Evacuation Ramsay's The Second No More Gotta Shut Down The Blah Blah Blah Girls Can Alpha Too Saliva And Kicking Wu-ing For Redemption Battle Royale With Reprise / Six Days Seven Denouements A-O-Kayla All The Jurassic World's A Rage Larry Curly And MOE Suite / Suite Dino Revenge

Loooooooooool that’s not just generic trailer house music?

Saw it yesterday with my son. The bad: The sound was way too low. Especially with a contemporary action movie blasting away next door. I could tell that there were parts of the new sound mix that were supposed to rattle my teeth but they just didn't. The ugly: That officer's lounge scene does not get any better on the big screen. The good / great: I heard Daren Dochterman mention how as much as possible they screened and edited this film projected rather than on small screens. I can see the result of that. New shots that might have taken me a bit out of the movie on the TV screen now blend pretty seamlessly on the big screen. My son came out of the film and said "How can people say that movie is BORING?!?" My biggest (and pretty much only) complaint was the way it was projected (a little soft) and the way the sound was set I didn't feel like I was seeing a modern blockbuster which I know is how this was meant to be shown. "For Bob." Really nice touch.

Yeah a straightforward sound without embellishment. And it goes hand in hand with the harmony being very spare and open. Music that could sound very noble and homespun at the same time. Which fits the mythos of Lincoln perfectly.

Why "IDBuzz"? They could have called it the "OBVan". ...ohne Benzin...

Thats what I like about Williams as that he takes the main theme from any of his films and recreates them for the classical concert setting whilst making it more elegant and worthy of the concert reportire. Its one of the reasons why his music survies the movies and goes beyond that limitation. It begets a new life in the concert world. This is some thing I noticed early in the 2000s when almost every film he did thereon had a major performance of theme which was designed not just for the album but for the concert hall.

Went to the 3:00 screening today (so unfortunately wasn't there for the post Q&A screening (hope people showed up for it!)), and I had a great time. I can certainly understand why people have issues with the film, and I'll certainly concede that it really requires a specific mood to appreciate it for what it is. But it's such a visual and audio wonder that I can't really complain much (even if it probably could've used some further drafts to flesh out things). That being said: it benefits so much from being seen on the big screen that I have a hard time telling if it would work as well if I watched it at home. Certainly got me interested in seeing much more from the franchise, and I'll most definitely see the Wrath of Khan screening once that arrives.

Kind of like posts by Jurassic Shark.

Standard Operation Procedure and The Unknown Known. Two documentary scores Elfman composed for Errol Morris are among his best films works written of 21st century. Although, due to the somewhat different process, you might say they have more in common with composer's concert work. Smaller budget, large presence of synths, huge Philip Glass influences - these are some of the elements that link the two works. There's also something really sardonic about the tone. For my money, really great stuff. Karol

There's a new interview with Mick Giacchino where he talks about The Batman (among other things). In a nutshell, Mick wrote the Batmobile chase because Michael was busy with Spider-Man, and "Highway to the Anger Zone" on the soundtrack is a combination of two cues. The first cue (0:00-1:34) was written by Michael and is called "If Batmobile Street Could Talk", and the second cue (1:35-5:20) is "Highway to the Anger Zone" and was written by Mick. I'll post the video below, but here's a transcript of Mick talking about the process (I cleaned it up a little): This part starts at 24:24 of the interview:

I saw this on the big screen yesterday too and had a great experience! The best part was the sound mix, which was truly fantastic from top to bottom. The film (especially with the overture included) has so many opportunities to let the Jerry's score shine all by itself, and that score sure sounded amazing in my movie theater's sound system! Beyond the music, everything sounded terrific and well-balanced. There was nice surround effects at times too. Great sound mix! As for the film itself, well, I had forgotten how very 70s it is! The sideburns, the hairstyles, the computers that are all giant light-up buttons and bulbous tube monitors, etc. I had also forgotten how extremely special effects-heavy it is! Perhaps because I had only seen this movie before on cheap CRT televisions in standard defintion. Seeing the full scope of the impressive visual effects on a giant screen was really something to behold! You can tell the filmmakers really really went all in on focusing on spectacle and special effects in the wake of Star Wars, but I'd say this was at the expense of story because the plot is really not super deep -- although I did like the philosophical ruminations at the end. I guess I'd say for me, they really figured out how to strike the right balance of sci-fi stories that are more crowd-pleasing movies starting with the second one. I might trek out (heh) to see that in the theater too, since there was a Fathom blurb at the beginning that mentioned they were doing that one. I'm not well-versed in the various different versions of this film to pick up on differences, I just enjoyed the whole ride. The friend I saw it with was familiar with the theatrical cut and told me he enjoyed seeing some new scenes he wasn't familiar with. The whole team did a great job on this restoration, and I was glad there was a lengthy credit sequence for the whole restoration team at the end!

No, at the beginning of that he says "several" are in the works, which is him telling us that lots more beyond the five in question are, well, in the works. He then says there are 3 already mastered beyond SpaceCamp and Presumed Innocent, so being already mastered they are the most likely to come out next. He then indicates 2 of those 3 he is hoping to have out by the end of this year, but doesn't give a window for the 3rd. In some podcast years ago, he indicated its a goal of his to work on every single score JW ever composed, so there are always plenty of titles in various stages of production. A lot of these projects take many years to complete from getting the license to it going on sale.

Another Vanity Fair article that dives deeper into Andor specifically. https://www.vanityfair.com/hollywood/2022/05/andor-star-wars-series-diego-luna Read the whole article and don't wait for BS aggregation sites to make 30 news stories from this one piece. I think there's a good chance that by the end of this season we will have had the first live-action scenes set on Coruscant of the Disney era (outside of brief flashbacks in Rogue One).

And like in old Rock'n'Roll fashion smashing a violin on stage at the end of a ten minute improvised solo.

And with the fartiest horn farts that a Zimling ever farted

Final trailer

Yea I won't be doing any of that

Top 10 Vangelis, for sure. "Dawn" and "Twilight" sound like outtakes from BLADE RUNNER, but love the other tracks too.

Thomas Hooten's tone is so beautifully pure on the studio recording. But also this is my "home" John Williams sound, as in I consider myself most at home listening to "Long Road to Justice," "With Malice Toward None," "Omaha Beach", etc. The Copland informed sound. On the sheet music for "With Malice" he even used the same performance directive that Copland used for the opening of the Third Symphony: "With simple expression." So you know... I'm predisposed. In Copland's hand: In Williams':

Got my copy and listened to it. Thoroughly enjoyed it; that's a terrific Williams score, is what that is. I already knew that, but this new release really caused the fact to sink in for me.

For Thor ... Somewhere along a German autobahn ...

Except in CEOTTK where he starts with "weird chords" and ends in total harmony.

I really like the album. I am just not completely happy with the track order. I think, Highwood's Ghost should have either been positioned directly after the Cello Concerto or at the end of the album. In the middle of these short film tracks is not really a favourable position. The film tracks are more easy listening and Highwood's Ghost requires some more attention, like the Concerto.

This new version of With Malice Towards none is a real demonstration of how JE likes to take a film themes and classical-them-up. He plays with the melody, takes it apart, complicates it, takes it in new directions, and it's all quite interesting. However, in the case of With Malice Towards None, one of the major strengths of the theme is its simplicity. It has an earnest, simple, directness to it that seems to speak to something JW felt was core to Abraham Lincoln. This version loses that earnestness and simplicity by complicating the main melody and with JW's stylistic concert music touches.

I wish. But the "international" store is in fact really just a British store, which doesn't help me at all.

Thank you everyone for your nice words of appreciation, it’s really sweet. I am glad that you like the show. And it’s very fun seeing some of you combing through every word out of Mike’s mouth when he’s on the show 🙂 But I agree that he’s always a joy to listen to, knowledgeable, insightful and fun. Since you love guessing games, let me tell you that we’re going to have a couple of really terrific musician episodes and also a very special video feature that will “complete the trilogy” after London and Los Angeles…

He's definitely overrated because he's blind. I'm always told I have to repsect and love him because he's blind and I'm blind and apparently that comes with obligations. Having said that, I've heard him wail 'con te partiro' or whatever the hell that song is called way too much.

Looking forward to this score but those stupid pun track titles are worse then usual.

Another interview: https://venturebeat.com/2022/05/19/ron-gilbert-and-dave-grossman-are-ready-to-return-to-monkey-island/ Gilbert and Grossman say it's different because they say different things in it, but to me it seemed like it's mostly the same as the other interviews in that each of them differs slightly from the others in one or two bits.

I'd never complain about anybody posting a custom cover in a thread about the same score the cover is for

My first custom cover done from scratch.

Yeah I know didn't know if it was the artwork or the poor text arrangement that troubled you. I've this one too if you prefer

Nice, this is definitely a very good - and long lasting - configuration!

How do you come to believe that Watchmen is underrated? Where ever you go on the Internet this movie is praised as a masterpiece by people. I would even say that on the contrary it is really overrated (not that it is bad at all but it ain't that good either)

Underrated: Avatar

Meh, the only reason I'll watch the pilot is to see how Holt will use Williams' theme. Otherwise, I'm not hyped at all.

White Lines by Tom Holkenborg Really nice electronic score, I love the track Infinite

Here's a revision of the Alien Intrada presentation...

I adore the version for trumpet and orchestra as much as I adore almost any music he's written.

I've always rejected the claim that the elements were lost, since a lot of the unreleased music shows up on the features of the Special Edition LD and the menus of the Extreme DVD, and both of those releases were produced by a documentarian named Van Ling, so logically it stands to reason that he may have a backup copy of the sessions, or at the very least a copy of the music stems for the finished film. However, the recreation is pretty close to the original

There used to be a threshold (€22 I believe) below which no fees applied, but that's been removed. So now we have to pay VAT and fees for UK orders plus we have to pay fees on every order no matter the amount (which also means they charge *every* order - before that, chances were your average CD order would slip through unnoticed). And of course handling fees on top of that, and additional delays.

1.5 times is the ratio at Music Box Records, at least for Varese releases. But as you said, no customs hassle (which even without the hassle would be roughly the same as the price difference), and I can bundle more albums in my order to save on shipping.

All I know is I ordered HTTYD2, paid 20 pounds, 20 more for shipping, then 25 more for customs with having to fill out papers and shit. At least Amazon take care of it themselves.

I agree about seeing it live. I wonder if that might actually happen and where. One can hope nearby and that it is streamed on video and even released. As for the mastering, I feel that the loud sections then the timpani sounds are pretty much crushed. Those moments sound ragged, something that could not possibly happen when hearing it live. I just don't get why those mastering it needed to max it out in such a fashion. There are creative uses for such things in many audio situations - I think Platoon's movie sound mix is deliberately distorted in places to add to the sense of war and horror. Certainly many types of rock music are at max volume too. I find it very odd. But even with that, listening to the music is a a great experience. For me with the cello concerto, the music is first rate. My 2nd listening reinforced that I like this version very much. I understand the enjoyment of the original's opening with a triumphant flourish, but this new version starting more quietly, almost magically, is lovely. I very much like this revision, and it is almost like 2nd cello concerto other than using the same themes. Maybe a version 1.5. The other tracks are appropriate to the album. As I wrote earlier, this version of Highwood's Ghost is not as appealing to me as the one on the Bernstein 100 Blu-ray. That's not to say I don't like it here. Just the one with the Boston Symphony sounds more coherent. Perhaps it is the mastering issue since the big orchestra section is not compromised sonically on that recording. What's interesting about the Schilndler's List suite and the Lincoln and Munich's tracker is that they seem closer to tone and spirit with the cello concerto and Highwood. While the cello and Highwood venture into musical tones and ideas that rarely feature in Williams' film pieces, all 10 tracks fit cohesively here in terms of seriousness and in a straight play through. I think that does not happen as much with Markings on the deluxe Across the Stars album as that piece seems to be too different from the film arrangements proceeding it. It will be interesting to hear how Violin Concerto No. 2 feels followed by the 3 film arrangements on that upcoming album. Overall, mastering aside (and I wish the issues on CD were not also in the digital versions, but they are), A Gathering of Friends is a treat and a lovely, long overdue, follow up to Yo-Yo Ma Plays the Music of John Williams.

Exactly. That why I hate "artistes" such as Il Divo, and G4. Awful gobshite. Just terrible.

Bocelli is the Yanni of opera singers.