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Maybe they're waiting for already finished and scored X, XI, XII to be released on home video after their theatrical run to release it all in one mega box set.

This is what drives me mental. No doubt the boutique labels have been asking Disney for years if they could license the Star Wars or Indy scores for expansions, but they refuse to let anyone else touch them (unless it's a physical release of a title already released by Walt Disney Records). And yet they do nothing with the music themselves. It's maddening! We went through two decades of this nonsense when Sony had the license... now the exact same thing is happening under Disney. If score expansions are so low on the priority list for big labels, why not license it out to a company that'll do all the work and pay for the privilege?

For me Temple has the best last act. From the release of the Slave children, the fist fight, mine car, and unforgettable rope bridge scene, it’s all pure excitement. And not just empty adrenaline either. It’s fun, emotionally satisfying as a liberation from Hell, and Indy persevering with that last stone on the top of the bridge makes me smile every time. And then the cherry on top is the glorious return to the village and character arc “I understand its power now. “

Raiders feels to me like something of a transition between an old style Hollywood action movie and a modern, non-stop thrills action blockbuster. Temple of Doom is definitely the rollercoaster film, however. Occasionally quite literally. The film is driven by sheer inertia, and obviously has a more pure kinetic drive than Raiders. Last Crusade falls somewhere in between, though probably closer to Raiders. Let's call it Raiders with a more modern sensibility. I rewatched Last Crusade recently. While not quite the breath of fresh air, instant classic that Raiders was (how could it be?) nor quite as courageous a departure as Temple of Doom, I decided it has the best final act of the three. It’s a (mostly) excellent film throughout, but everything from the moment they enter Petra is just brilliant. The father/son stuff between Sean & Harrison is phenomenal. So perfectly realised it's just amazing Lucas and Spielberg stumbled on it. IMO it ranks fairly close to Raiders in being the second best of the trilogy.

Just received a nice Goldsmith's batch

They should hire him to do the track titles for future releases: Star Wars 5 2025 Vinyl Complete Music Symphony 01 Fox Trumpet Song 02 Star Wars Start Song 03 Hoth Music 04 Imperial Walk (long version) 05 Asteroid Field Big Song 06 Yoda Melody 07 Han Solo And Leia Love Song 08 Star Destroyer Theme 09 Darth Vader Orchestra Music 10 X-Wing Goes Up Tune 11 Cloud City and Lando Love Song 12 Carbonite Theme 13 Luke VS Vader Epic Song 14 Rebel Ships Love Song and End Song (Long Edition)

You're the second person this week to make that recommendation (the first was @Miguel Andrade). I really should look into and listen to it. I have actually been to the pirate ship they've built for the movie. It's at the harbor of Genova

Agreed. Crusade is indeed the second best of the trilogy just behind Raiders.... but Temple of Doom is even better than the best!

Website: https://theaudiophilesociety.com/collections/albums/products/john-williams-movie-magic-steven-mercurio-the-czech-national-symphony-orchestra-digital-download

I can't remember what the other Ben Folds concert coincided with, possibly Songs for Silverman, it was a long time ago! Hope he comes your way at some point. The last Doyle concert was really good so I'm looking forward to seeing him again (well the orchestra and whoever is conducting it!). Emma Thompson did the monologue from the start of Much Ado live which was a great addition.

Crystal Skull's score is very underrated, and I feel like when its expanded a lot of people on here will change their mind about it when everything is available in hi-res.

Agreed. Not to mention the awesome main titles theme. All the themes in this score are memorable.

You don't need to see his identification.

Absolutely! I get emotional every time I listen to the "main theme" (i.e. the end credits theme). The choice to score the heroes' victories with such a strong, noble and upright theme is so effective in the film. Since the characters are essentially up against impossible odds through much of the film, when they do get victory at the end and Morricone lets loose with this incredible music, it never fails to give me chills. It makes the good guys' struggle so much more moving and meaningful. Also, the way he orchestrates the 3 or 4 trumpets (along with horns) so that they are constantly overlapping and "dialoguing" with each other is awesome on a purely technical level.

This is worded like I went into ChatGPT and asked it to give me a joke about George Lucas in the style of a Chuck Norris joke, and I love it.

The whole album only has two tracks… I really need to explore his music more. I'm only familiar with and own Lords of the Flies, L'Ours and Ghost Story I won't post a YouTube link here, because it's off topic, but you have to check out his score for Polanski's Pirates! In fact, as a Monkey Island fan, you should absolutely watch the film, too. Here's two more on-topic scores I can think of:

Another horror/thriller score from Young with a typically great theme led by piano; one that is very reminiscent in feel of the excellent Jennifer 8, in fact. It's bookended by great performances of said theme - particularly both the penultimate and final cue - but it's a bit dull and pedestrian in between.

Honestly, I think modern-day Disney has "John Williams Star Wars scores" VERY VERY LOW in their list of priorities. They are extremely busy trying to figure out a way to make people stop cancelling their Disney+ subscriptions without overspending with new TV shows like they were doing. Who cares about music for some old movies? Especially when the OSTs (which, in their point of view, contains everything people need from those scores) are on streaming services. If I was pessimistic before when they were in a good financial state, now that they're in crisis I think the odds of they dedicating time and effort to the Williams scores are as low as Uwe Boll receiving an Oscar for Best Director.

Oh damn, I just got 2016, 2018, and 2 releases mixed up on a public forum

Arrived today: Karol

Not sure if the film especially counts as a horror, but Elfman's score to Red Dragon is far more like an overwrought gothic horror than a crime/thriller/foodie film. Just gave it a listen for the first time in a long time and enjoyed it considerably more than I remembered.

Dear Film Music Fans, Chris Siddall Music Publishing is proud to announce that the Gremlins study score is ready for pre-ordering. Written during a period when Goldsmith was experimenting with combining electronic synthesizers with the orchestra, Gremlins is a lot of fun, and is packed with fascinating compositional and orchestration details. From the tender and sweet "The Little One" to the creepy and tense "The Pool" to the chaotic "Kitchen Fight", every note of Jerry Goldsmith's mischievously subversive score is presented in stunning detail. Please visit ChrisSiddallMusic.com and be the first to own this classic masterpiece today. 194 pages, 9x12 inches. Paperbound, printed in the U.K. $85.00 Available Worldwide Note: Shipped from the UK. Please check with your country for import tax before ordering. This charge will be in addition to the item cost and shipping cost and varies by country. https://www.chrissiddallmusic.com/store/p101/Gremlins_In_Full_Score.html Orders including Gremlins are expected to ship week commencing 22nd May 2023.

Ordered: https://www.soundtrackcollector.com/images/image/Matrix_Revolutions_Ad2.jpg

In exchange for exclusivity to physical units??? In exchange for being able to fucking do them at all!!!

The absurd part is LLL/Intrada would probably happily let DIsney retain digital/streaming rights in exchange for exclusivity to physical units (like Mondo with the Rogue One expansion).

I've never seen Doyle live, and Folds only the one time he was in Vienna touring with the Way to Normal album, way back in 2011. He hasn't been here since (I'd love to see him live with an orchestra doing Rock this Bitch). I suppose I should keep an eye on his other tour stops around Austria, but so far I haven't been in the habit of doing a trip abroad just for one concert with no surrounding sightseeing plans. I'm always happy to go back to London, and I've long been wanting to make a trip to Scotland, so Folds/Doyle would have been a nice fit. (I'm also tempted by Belshazzar's Feast at the Proms - at this point I've pretty much given up expecting it to ever be performed in Vienna again - but that also conflicts with another appointment, and apparently that just went on sale today, so if I ever make up my mind, tickets will probably be long gone by then).

Well Ben Folds is a birthday treat and not seen him live for a number of years, last time was when he was touring with the string quartet and he did a movement from his piano concerto as well at Covent Garden I think. Shame he's not stopping in Vienna, nowhere nearby you could get a train to see him? I can't believe it'll be 10 years since the Doyle concert I went to though... blimey.

Man, dont force her to watch the soccer finals and you will have an excuse to not have to endure this crap 😬

Unpopular opinion: Baby is my favourite of these.

My wife watches this with the interest and zeal I watch a World Cup final, so I make an effort to watch it with her. But it can get quite unbearable sometimes. A lot of it is a celebration of bad taste. It makes what is merely passable to really stand out

One of my very favorite

Thank you for your opinion!!!

I'm definitely going to go (with Ben Folds in London at the start of the week!). I recall that both Peter Capaldi and Richard E Grant were at PD's concert in London in 2013 which I'm guessing was his 60th birthday concert. It was just after Peter Capaldi had been announced as the 13th Doctor and he was sitting at the end of our row so I got an autograph and a pic (while singularly failing to get one from Patrick Doyle... oops). He assumed I was a Thick of It fan (given my age) and so wrote "fuck off... Peter Capaldi" on my ticket lol. I did have to explain that I was a fan of both and looked forward to him as the Doctor. Think he was only just getting used to the attention. Funnily enough, I don't actually know why (aside from also being Scottish!) Peter Capaldi would be featured at such a concert. I know that PD scored Wah-Wah for Richard E Grant but I can't see that Peter Capaldi starred in or directed something that PD scored, unless they are just friends.

i'm in love with that movie

unofficial?

It's a great release! I hope you get hold of a copy eventually, re-release or not. If I was into making lists, I'd probably include it in my top 5 Morricone scores.

I remember when I was in college ten years ago and we were doing an animated short, mine had some horror vibes so I used Herrmann's The Day the Earth Stood Still as the music and it fit well. Never got a copyright strike though, mainly because I don't remember posting it on Youtube.

Sounds like he's admitting to malpractice. He talking about editing the masters instead of making a copy first and tossing anything that got edited out. When I worked in radio, back in the 90s, and edited commercials using a razor blade, I would always make a copy of the original and use the copy to edit. The very thought of trying to reinsert a piece of tape less than a couple of inches long (and don't let it get inserted backwards!) makes me shudder even all these years later. On something like ST:TMP, where the post-production was such a time crunch, that might happen, but still... (ST:TMP made it easy by editing to the music in places.)

Brenster1000 commented on that video 7 years ago: "Just bought the 24/96 hi-res FLAC downloads; started with episode 4 and this is absolutely the best I've heard the score (already have the 1986 Polydor 2CD, the 1993 Anthology box set and the 1997 2CD RCA hardback deluxe Special Edition scores). Safe to say you guys absolutely NAILED this!"

What do you mean? As a performer, I think the 3 minute piano solo version of Sabrina's theme is the only thing he performed. As a conducter, he conducted everything on both discs apart from the Sting song. As an orchestrator/arranger? I don't think individual track credits are known.

Why not...

Nice Bond covers @raferjanders! Wow, that second bit of art sure wouldn't get past the approvals committee today would it? Makes me wonder if the next Bond will be a fully suited up female with hordes of skantily clad male eye candy adorning her like accessories.

Wow, sounds exactly like Doyle XD

Nice.

I've heard so many occasions of a sound design score doing something really interesting, effective or original where a score strictly using a traditional orchestra doesn't manage to do the same. I'm saying yes, scores for big movies which use an orchestra are good, but there are moments in that score where some synth, sound design, percussion, or something other than that huge symphony orchestra, might be a better choice. If it's between scoring a scene with some generic orchestral chords that aren't doing very much, or using some other device that tries something different, I'm going for the latter most of the time.

Why don't people get this? Are we really that weird for thinking this?

Wintory's Traveler - never played Journey, never heard the actual score - but this is just fantastic. The Banner Saga Trilogy - I have played these and love them. And the scores are a wonderful journey from bleak nordic travel music to a hopeless drawn-out apocalyptic last stand battle, incorporating thematic development where needed, athematic but still melodic music for the developing journey where needed, and more sound-designy atmospheric but still interesting music where needed, greatly enhancing the games' emotional heights in a film scorey way like in Of Our Bones, The Hills/We Are All Guests Upon the Land for the (spoilers) main character's loss and burial, the first violent stages of the siege in Steel Flowing as Water/Ruin Beyond the Wall the cutting back and forth between the siege in the real world and the plodding road in the netherworld from Blades Sing From Below to With a Mighty Grief That Was Our and Theirs, or the climactic release in Fate, Chosen. I just love it. Deriviere's A Plague Tale: Innocence (Bandcamp Deluxe) - I bought this because I loved the soundscape in the first game, I always adore nonstandard instruments or nonstandard ways to use them, and the way this score handles the cello and other string and medieval instruments (with some organ and synth to darken it even more) is just a beautiful joy. Deriviere's A Plague Tale: Requiem (Deluxe) - This on the other hand I bought after spending a couple hours ingame and already finding multiple pieces that were not only enjoyable but a very strong emotional driver/support for the fantastic character beats and story. I only saw after buying that it was 3 hours long, that's how motivated I was And boy, what a 3 hours! Pretty much a chrono assembly from what I could tell, it guides you through the much heavier and darker story perfectly, utilising themes from the first game to a much fuller extent while also enriching the sound with new themes, choir and bagpipes. I particularly love No Turning Back for Amicia's first breaking point with violently lashing out, and everything on the island, from the optimistic first impressions (This Island/The Child/The Holy Child) to the dark undercurrents (The Spirit of the Island/The Darkest Island), the desperate reaching back through centuries' layers of dust for answers (Tomb/Ruins/The Protector/The Truth/The Night), and the ultimate failure (The Count/Kneel/The Lost City).

All right, but apart from the sanitation, medicine, education, wine, public order, irrigation, roads, the fresh water system and public health, what has John Williams ever done for us?