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Since Intrada announced the long awaited release of Conan the Destroyer, and I had the honor to have my work used for their B side cover, I guess it's a good time to post all my Conan related covers. And the variations for the Tadlow Re-Recording series

Very nice!

Stripped back, simple and uncomplicated, refined and perfectly envisioned. I loved many tracks but that finale... wow. This man is just... wow.

Yes the flub people are back!! Amazing concerts but their lives are ruined by a flub.

I look at the OST as more of a concept album than a representation of a film score. What a gift being treated something this unique in the twilight of his career, even if it's the last Spielberg/Williams collaboration (somehow I suspect not!)

Maybe it was their mutual decision to go that direction. I'm so sad they didn't ask ocelot.

At listening to the first piece The Fabelmans I thought, If Williams ever wrote such a simple piece before. And listening again to this theme with its children's song like simplicity and the impressionistic chords it reminds me rather of Hook. And I guess this makes perfect sense, as The Fabelmans is a coming of age story about a boy who is not necessarily aiming to grow up in a traditional way. The grow up type is his father. But the theme appearence in the movie is called Mother and Son. And for the son is becoming a filmmaker probably rather about keeping the child inside you alive with all its fantasy, spirit and imagination. So, the melody is simple, like a melody that you might come up with If you tried to compose your first music piece. But it also has some maturity reflected in the chords, which are not that simple. So this young talented amateur spirit of someone starting to explore an art form like music or filmmaking is perfectly caught in this little piano piece that opens the album. So, Spielberg's young passion for film making and music are well reflected in this piece. Haven't seen the movie yet, but this is how the music makes sense to me in context of the story.

I don’t know about everyone here, but I’m really relishing a new JW soundtrack day. We don’t know how many we have in front of us - just feeling so thankful.

Curious about this score.

It's really important to understand the underarching plot and who Grogu is. Without it, it's utterly incomprehensible

It's interesting that he decided to go in the complete opposite direction to that the majority of us would have wanted. Instead of increasing the presence of the orchestra, he decided to reduce it. Yes, I love my orchestral splendour but it is not the only valid way to deal with these things. I sort of try to be more open-minded these days, partially because it is quite difficult to come up with valid excuse for me own prejudices and how illogical they are. For what it's worth, I do think his approach to film scoring is at the very least intriguing. There's a certain sophistication that isn't necessarily present in certain mainstream film music and I do appreciate that. For instance, I am not a huge fan of Tenet score but have to admit some of it is quite interesting sonically. And, again, I actually do appreciate how he integrates the songs, all of which he co-wrote, into the fabric of the score. It is not simply a case of needle dropping licensed stuff. It's something I can get behind even if it wouldn't be what I asked for. Karol

Another masterpiece by the Maestro; small but very intimate. I CANNOT wait to see the film.

I get why some are dissappointed. I had made peace with the brevity, but I was hoping for more musical variety (like, I expected Mitzi's Dance to be a fun dance piece). Such is life. That being said the main theme is lovely, the Journey Begins is fantastic, and the the piano runs against the jubilant strings of the main theme is so sweet and perfect--like Williams writing a little epilogue to their own relationship. I would love a long piece of just that sort of stuff, but I will take what I can get.

Good news for anyone who missed out on Omni Music Publishing’s (excellent) full score of Willow. They’ve now made it available again digitally: https://www.sheetmusicplus.com/title/willow-score-only-digital-sheet-music/22381156?ac=1&aff_id=742017

The Fabelmans theme is the most beautiful theme John Williams has written since War Horse. Maybe even since Window to the Past or Across the Stars. It’s stunningly unpretentious somehow.

Jerry Siegel and Joe Schuster were Cleveland boys. They drew Cleveland to be Metropolis. In The Death of Superman (either the comics or the novel, I don't remember) as Doomsday is making his way to "Metropolis" he's going through a lot of Ohio landmarks.

I actually quite like Wakanda Forever. Yes the orchestra is diminished, but it is one of the few scores I listened to this year that does something really interesting with vocals across two cultures and as well as having very unique instrumentation. This isn't the typical epic choir like Balfe's Black Adam.

God of War and God of War: Ragnarök Bear McCreary *updated the previous cover I posted in 2019, with minor improvements

I have listened to the album like 10-12 times (minus the classical pieces) already. I agree with you. I don't think I would put it in my top 30 Williams scores. I guess I can't call any Williams score "bad" (maybe except his very early scores? although they are also well crafted). It's just that it didn't resonate with me at all. To tell the utter truth, I expected something more for this kind of Spielberg film.

You need to watch the Mandalorian to understand what's happening

I just finished my second complete listen through of all 7 CDs over 3 days (1 day per film) on my new headphones. Wow, these are truly brilliant scores, and the expansions allow JW to take the listener on an incredible musical journey. I believe that somewhere it was mentioned that the first section of the last track on the Prisoner of Azkaban score (Trailer) was written by someone other than John Williams. However, this was the first time I realised that the concluding statement of JW's family theme (tracked with Reunion of Friends from Chamber of Secrets?) has the stereo channels reversed. I never noticed this before! I wonder if it is like that in the actual trailer itself... Also the whole track is mastered much louder than anything else, making the opening synthetic orchestra/drum strikes even more obnoxious. Other than that slight hiccup (and the strange decision to include a portion of The Dementors Converge on the alternate Watching the Past track), I absolutely love this release. I was very impressed by Philosopher's Stone this time through, particularly the inventiveness of the children's suite and JW's masterful orchestrations. I enjoy how each movement in the suite focuses its attention on one particular section of the orchestra at a time, giving each a unique tone colour.

I think Williams was trying to capture the feeling of nostalgia, rather than just aping things people are nostalgic for. A golden age sound would not fit here.

80th Vienna Philharmonic Ball is on January 19th. So we have just over 2 months left to the premiere of the new Williams' composition. I really hope that my theory that Maestro recorded it in Vienna in March this year in Musikverein, during rehearsals for concerts, will be confirmed and that composition will be included in the planned Vienna II album. And if it doesn't, hopefully it'll be released in near future on another album. https://www.wienerphilharmoniker.at/en/vienna-philharmonic-ball/2023

Anyone can watch it with a Disney+ subscription

Not a re-recording but it is worth mentioning he conducted the LSO in a recording sessions for this beauty: Karol

The Crown - Season 5 A lot has been said of this season over the last few weeks but I thought it was great. Just like the other 4 seasons there is some of the best writing and acting on display in the series. The new cast is all great. Staunton is good as Elizabeth (although Colman is still my favourite). West is also good as Charles, although it is apparent here that it is an actor playing. I didn't have that with Josh O'Connor last 2 seasons, he was Charles. Speaking of being a character, Debicki is almost disturbingly like Diana. The way she moves and talkes, it's incredible. Of course I know that there have been quite a few creative liberties taken and making the storylines dramatic. But that has been done for all previois 4 seasons. And although I get why people take offend at it now (with Elizabeth's passing and the story being more close and fresh in people's mind) I still feel it's a terrific series. My favourite episode were: 2, 3 & 9. Wonderful stuff. I'm excited to see S6 next year. There have been talks of a spin-off series about the other monarchs in history, and I would watch that without question.

You can see Spielberg with your ears in the final chord of Journey Begins . With classical choices, so peaceful album. Thank you Maestro!

Right? I mean... I KNOW BEST!!!!!!! lol Hey, listen, I have loved 99% of William's output, it's OK if this one is not gonna be anywhere near my "must listen to again" list. I'm happy many of you are loving it xox Please no, I want pure indy for that and not Gone with the Wind, lol

Lovely! Carlo's theme is quite reminiscent of the romantic parts of The Shape of Water (Elisa's Theme) while for example the end of The Pine Cone reminds me of the quirkiness of his work for Wes Anderson movies, like Fantastic Mr Fox! I cannot wait to watch the movie and hear the score, since I think they will be vastly superior to Disney's cash grab earlier this year.

As the film is edited now, there really isn't space for a Metropolis theme to shine. Purely conceptually? Sure.

Oh wow, that is stunning! Why did I never think of this? Now that I see yours, it's so obvious to combine the "seal" with the diary.

Yeah I know you were kidding, it made me laugh. As for the score yeah, same. Also, Williams does come from an age old Golden Age of music, I was hoping he would write this as a tribute to all those incredible composers of old as that's what captured Spielberg's imagination for film and music. Personally I would not care if it was OTT, for me it would have highlighted the awe and wonder of movies of that age and why Spielberg wanted to be a director in this business.

Just returned from the movie and it was very lovely. Truly amazing how much Sammy embodied the young Spielberg. Really good film but might not be everyone's cup of tea. For me, I found it very personal and moving but there is no spectacle. It's just a family story and a letter to one's younger self (and a love note to their parents).

Well well well, what a stunning little album this turned out to be. I couldn't be more pleased. If the end of The Journey Begins is the last word on their collaboration, I'll be fine. (Though I hope it's not - fingers crossed they do a Western!)

Let's be clear, I'm also a fan of that type of epic and over dramatic music (JW is up there in my top 3, right next to Jerry goldsmith). What I meant is some scenes and actions are sometimes directed and edited in a way that doesn't require the score to add another layer of intensity. It would result in a lack of subtlety. I would compare this with someone overacting. it defeats the purpose. And this show definitely works better with a subdued score in my opinion.

I still don't love this. I respect it. There are things I admire in it. But I'm really not wired for this sort of entertainment. Please don't hate me. It feels weird to be in the Star Wars minority, but here I am.

You literally just defined what film music is at its core. To be even more specific, what Star Wars music is at its core. What it was always meant to be at its core. Why even bother having music at all then?

And after 11 years after announcing both titles, Destroyer will be available to order Monday evening, December 12th Dec 12th https://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8984

I'll put it this way... If I am ever in the position where I'm swimming for my life to attempt to board a submerging Nazi Submarine, I wouldn't want the Jurassic Park theme to get me there. I love that the theme is played to people on screen literally cheering and punching the air. I don't think all those Arab diggers would get off their butts if Indy rode his horse by them without the theme.

Coming on December 12th!

Can't you regard it as a tremolo on the G?

To Kill a Mockingbird by Elmer, RSNO version. Beautiful performance of a gorgeous, seminal score. Random thoughts, there’s a danger motif (for want of a better description) that’s almost the raptor motif from Jurassic Park (the final note is different). Motifs like it seem to pop up all over once you start listening. It’s almost film music’s own dies irae… On a more serious note, did Elmer effectively invent the gentle drama score? I don’t know if this was his first such score, but it’s one of his finest and best known. Before that, dramas were rather durm and strang instead of delicate and sensitive. It reminds me that it’s astounding that Elmer never won a best score Oscar. Definitely robbed. Several times.

The Journey Begins is so wonderful. That last modulation at 5:00 sums up their amazing collaboration. 😍😭🥰

I saw Dopesick (Hulu), which is about the opioid crisis in the US (specifically oxycontin). It shows events from different time periods and different parts of society like the company that makes and sells oxycontin (Purdue Pharma), doctors who prescribe it, patients who take it and get addicted, two investigations which happen at different times and courtroom scenes and also other scenes of the medication being misused... The story is told in a non linear way but it's very clear which scenes take place in which time period as they always write the year whenever the timeline shifts forwards or backwards in time. Michael Keaton delivers a great performance and so do the other actors, in particular the actress who plays Bets and the actor sho plays Richard Sackler. I knew a bit about this opioid crisis before watching the show but I didn't know to which extent it was a problem and how calculated the rollout plan was from the company and what an infrastructure they put in place to increase sales. It's a tough watch, especially the scenes of patients who are suffering from severe addiction but it's a brilliantly made mini series that people should watch as I think many don't know the extent of this opioid crisis which is still ongoing today. The score was by Lorne Balfe and while it was fittingly atmospheric and appropriate for this show, it doesn't do much more than that.

So this is less than 48 hours away! Who's going? I wonder if JW is already in Cleveland?

Perhaps he was making out with his girlfriend.

Nope! I don't know if I'll ever tackle this collection to be honest. I love some of these scores but not the whole bunch and not enough to commit to a Disney series. I'm sorry A couple Maurice Jarre covers