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Here's one that pays homage to the theatrical poster.

Decided to correct and expand Memoirs of Geisha OST breakdown a bit. Thanks @filmmusic for some observations in that thread! 01 Sayuri's Theme 1m2A New [The Story] 02 The Journey to the Hanamachi 0:00-1:58 - 1m1Alt The Opening (mm. 1-18/24) 1:02 - SKIPPED: mm. 8-9 1:11 - SKIPPED: mm. 11-12 1:50-end - Theme - In 1m1Alt instead of the usual signature "J. Williams BMI" it says "J. Williams (after Demo Model)". There are a lot of inconsistencies between the sketch and the recording of the cue. From JW remained shakuhachi's solos, string sustains and some taiko hits, the rest of the "decorations" (percussion and synths) were done in a different way. - Theme was probably the first cue written, perhaps even as a demo. The sketch was written a bit hurriedly, without specifying the tempo and, for example, specifying the synth timbre: "synth (later)". 03 Going to School 1m7 New Off to School (2:30-2:38 - that bars are missing from the sketch) 04 Brush on Silk 0:00-0:14 - 2m2 New A Teasing 0:14-0:25 - 2m2 New B 0:25-end - 2m2 New C 2:16-end - 2m2B Approaching Mameha (as overlay, as it should) 05 Chiyo's Prayer 0:00-2:09 - 3m4 Chio's Prayer (mm. 1-33/40) 2:09-3:02 - 2m4 A House Called Tatsuyo (mm. 9-22/22) 3:02-end - 3m4 Chio's Prayer (mm. 34-40/40) 06 Becoming a Geisha 4m2 Mameha's Instruction 3:27 - SKIPPED: mm. 103-112 07 Finding Satu 0:00-1:44 - 3m5 Enter Mameo (mm. 1-30/32) 1:44-2:31 - 5m4 Do You Like Someone Else (mm. 6-17/32) 2:31-3:08 - 1m5A The Roofs of Hamachi (mm. 11-18/22) 3:04-end - 2m2B Approaching Mameha (again) 08 The Chairman's Waltz Chairman's Waltz (Full Version) 2:23 - SKIPPED: mm. 79-114 (that 35 bars copied from Chairman's Waltz (Violin Variations)) 09 The Rooftops of the Hanamachi 0:00-1:57 - 3m1 New On the Roof (mm. 1-59/89) 1:14 - SKIPPED: mm. 21-23 1:46 - SKIPPED: mm. 50-51 1:57-2:10 - 3m1 New Insert 1:57 - SKIPPED: mm. 61-62 2:10-2:43 - 3m1 New On the Roof (mm. 59-89/89) 2:38 - SKIPPED: mm. 82-85 (approx.) 2:43-end - 3m1 On the Roof (mm. 50-82/82) 3:18 - SKIPPED: mm. 66-67 3:35 - SKIPPED: m. 77 - The 3m1 New Insert was written before the recording, and it only adds material and doesn't replace anything. It also adds one bar around 1:46 (not in the OST). - This track combines two versions of the cue for the same scene. 10 The Garden Meeting 0:00-1:40 - 7m5 Preparing for the Reunion 1:40-end - 5m8 The Cherry Garden (mm. 4-16/16) 11 Dr. Crab's Prize 6m3Alt - In the sketch instead of the usual JW signature it says "Trad. Japan" (as in 6m1Alt). 12 Destiny's Path 7m7 We Have No Choice 1:20 - SKIPPED: m. 22 2:00 - SKIPPED: m. 33 2:32 - SKIPPED: m. 43 13 A New Name... A New Life 4m3 A New Name... A New Life 14 The Fire Scene and the Coming of War 0:00-3:21 - 6m4 The Fire Scene 0:59 - SKIPPED: mm. 23-27 1:05 - SKIPPED: m. 30 3:21-end - 6m5A The War Comes (mm. 1-58/60) 6:37 - last sustain tracked from somewhere else: it should be G, not C. 15 As the Water... 0:00-0:54 - 6m5B After the War (mm. 1-18/38) 0:54-end - 6m5B After the War (Vln+Vc Version) (mm. 18-40/40) (the violin part is played by viola an octave lower) 16 Confluence 8m3 New Coming Together 17 A Dream Discarded 8m1C Rev. The Hankerchief Scene - The letter "C" stands for "cello" here. Four versions of this cue were written: two for flute and two for Yo Yo Ma. 18 Sayuri's Theme and End Credits 0:00-3:44 - Sayuri's Theme (mm. 1-124/142) 3:44-end - ?new ending? - There are differences in orchestration of Sayuri's Theme: most of the theme's renditions were entrusted to Japanese instruments (or synths that imitate them). On the recording, they almost all replaced by orchestral instruments (mostly by cello). - The new ending is the transposed last bars of 4m2 Mameha's Instruction.

The Lucas/Williams Collaboration III: The Shower Sessions.

So Zimmer finally acknowledges two of his most beloved scores from the late 90s:

Someday… please… Indiana Jones and The Last Crusade expanded Film Score Presentation 1:44:36 Indy’s Very First Adventure (Film Version)** 12:00 The Boat Scene 2:23 Sinister Visitors* 0:53 The Holy Grail* 1:00 X Marks The Spot (Extended Version)** 3:52 Beneath The Floors* 2:31 Ah, Rats!!! 3:40 Escape from Venice (Film Version)** 4:25 Into Bavaria 0:38 Bringing on Father 1:49 Discussing the Book* 2:13 Don’t Call Me Junior* 1:59 The Capture of Marcus 0:50 The Austrian Way 2:40 Room In Flames 3:06 Scherzo for Motorcycle and Orchestra 3:53 To Berlin 1:07 Koeniggraetzer March (Film Version)* 3:03 To The Blimp 2:04 No Ticket 2:45 The Blimp Turns Around 1:30 Keeping Up With The Joneses 3:37 Brother of the Cruciform Sword 1:57 The Death of Kazim 2:27 Belly of the Steel Beast** (Extended Version) 9:03 Disc 1 time: 1:15:25 Film Score Presentation (continued) 29:12 The Canyon of the Crescent Moon 4:17 Into the Temple* 2:51 The Penitent Man Will Pass 3:24 The Keeper of the Grail 3:24 The Wrong Choice 4:36 Finale and End Credits 10:40 Source Music 9:10 Cocktail Source* 1:30 Market Source* 1:57 Koeniggraetzer March* 2:55 Dirigible Source* 1:30 Palace Source* 1:18 Additional Music 32:03 Indy’s Very First Adventure (Alternate)** 12:00 X Marks the Spot (Film Version Segment)** 2:50 Escape from Venice 4:21 Room in Flames (Alternate)** 3:06 Keeping Up With The Joneses (Alternate)** 3:37 The Death of Kazim (Alternate)** 2:27 On The Tank 3:38 Disc 2 time: 1:10:21 Total 2 disc time: 2:25:46

Yeah that's the only omission I noticed about @BrotherSound's tracklist. A comprehensive TLC expansion needs at least 3 versions of KUWTJ. Personally I'd pair the album version and the revised film version (with insert ending) in the film score presentation, because they're so different anyway. Then the revised cue WITHOUT the film insert ending could go in the bonus section. I don't think the film insert ending has leaked in any of the bootlegs either.

If this takes you hours for free for a score you don't even necessarily care about... then why can the paid professional only throw together something so bland and low effort? Though at least there are no mistakes in it except for the bad font choice, as far as we can tell for now.

First impression is that this score's fantastic. Fun new themes, some real interesting variations on the old ones, some amazing highlight cues, you really can hear the maturation of Powell's writing, there's even a surprise source cue! On the second listen though, I wasn't 100% satisfied with the structure. It's going along nicely and then oh no, we're at the end already without that much buildup, when many of the themes barely got space for nice renditions? And we're already doing the big epic sad ending when the score itself didn't much suggest that this was all leading to a big sad ending? Though the film absolutely does not build up to it either so that makes sense. Also it has the messiest battle cue of the three. I just thought that 2 does a better job with its structure, having an arc, feeling like a full journey, having enough space for all the themes to be explored, having more emotionally charged key moments etc., largely helped by the movie being much better and allowing for all that of course. Ironically this is the longest of the 3 scores (if only by a few minutes and helped by the credits) but somehow on this listen I felt like it should have definitely been longer, which I never really thought with the really well-rounded first two. But Busy Busy Berk is still amazing. And holy shit Forbidden Courtship. And Romance in the Clouds! And The Hidden World! And Grimmel's Surprise! And Viking Wedding / Boat Epilogue! And Setting Up Camp! And Stronger Together! And Into the Hole! And With Love Comes Loss! Oh, and all the Powell quotes in the booklet are lovely! And I didn't know he was so involved in even the script/ideas phase! My first pass at an edit looks like this: I did a little blanket EQing across the whole thing to boost the mids. I took many of the OST titles where I liked them better but it's all the DE tracks. Joined Mysterious Creature with Toothless in Love. Joined Valka's Warning with Setting Up Camp, in reverse order (heavier cue first, playful second) because I felt it makes for a better transition between the darker ending of Exodus and the playful Forbidden Courtship that way. Moved New Berk Feast forward to replace Near Miss Valka (makes this block more light, no short dark interruption), also lowered its volume a bit, what is it with loud medieval source cues in the middle of the program, first the Nelwynses then this Joined Near Miss Valka and Ambush / Cage Fight Joined Stronger Together, New Island and Into the Hole, the latter two especially work better joined when the tension is kept up instead of them just being short disconnected cues. Also the first 12 seconds of New Island were moved to the start of this track, before Stronger Together. Joined With Love Comes Loss and Grimmel's Surprise

THE MUMMY is a fantastic flick. Better, and certainly more fun, than the last two Indiana Jones movies.

Must have been a bridge too far matching the fonts on the top and bottom of the artwork.

Coming 3/19... https://www.facebook.com/groups/95015405220/posts/10168818092730221/

Jay is getting the lifetime achievement award tonight i heard

Playing "Chevaliers de Sangreal" with musician friends from all around the globe

Well in this case, the cue is short (2 minutes). and large portions of the cue are replaced with inserts of decent length, so there wouldn’t be too much repetition

Don't know if this shows up for anyone else, but here's Henry Stanny's (member Morricone on FSM) cell phone camera recording of Williams' SCL speech yesterday: https://www.facebook.com/1374175681/videos/323425597387644/

At World's End I think.

Yep, the Jónsi song! I think now was the first time I listened to the entire thing, and I'm pretty damn sure it's the last. I like Sticks and Stones and really like Where No One Gkes but this is just... no. Yeah unfortunately I just went by ear tweaking it for half an hour to go well enough with the preset of my earphones.

Yeah Eclipse and Harkonnen Arena were also edited around. Though its possible that the film mixes came first and the soundtrack album just pasted together better sounding edits. Dont forget how the film version of 'Ripples in the Sand' got the organ blasting at the end instead of the guitar. So glad we got that in the FYC.

Honestly half of that track felt different. I could not even hear any of the vocals in the movie. The sound mixing for the music wasnt as good as the first movie to be honest.

Ah, my old picture surfaces again. If only Williams hadn't moved and blurred his face!

Alright, now in an official expansion we'll just need a third version with George singing along. 👍

Better rip of the Goodbye Old Friend Alternate: goodbyeoldfriendalt-fullmix.mp3 unknownvaderfullmix._bandit_music_[mvsep.com].mp3

This march towards doom is one of my favorite John Williams action moments of all time

On the whole, it is an absolutely fantastic score.

Does this movie have anything to do with this song or vice versa? Because every time I see its name I hear Chris DeBurgh's voice singing "Lady in Reeeeeed..."

Palpatine's Big pitch from TFU cutscenes front channels, cleaned with AI: palpatinebigpitch-ending-front._bandit_music_[mvsep.com].mp3

Taking my stab at DUNE

This is the correct, healthy attitude to have. Yavar

I would rank JW's SW scores at "I love this" and JP's HTTYD scores at "I love this too!"

An American Tail: Fievel Goes West

Clear hierarchy of the songs for me. Where No One Goes is awesome, Together From Afar is just barely interesting enough to keep, but Sticks and Stones has about as much business being on a soundtrack album as I See Fire (i.e., bugger all). One simple change would make all three at least a passing interest, and only the second one does it - use Powell's theme.

@heidl Simple, elegant ... lovely. Scorpio variants - to rectify the poor showing from Quartet. Damien - Omen II and III

I did hear some proto-Hornerisms at 0:30 of the video above, but other than that I think this will be mostly 1930s source stuff. Also, apparently Tarantino is a huge fan of the movie: https://web.archive.org/web/20200323145539/http://thenewbev.com/tarantinos-reviews/the-lady-in-red/

THIEF OF HEARTS is his best, IMO, but TOP GUN is probably second.

I need to get that Masada release!

And thus the debate. For me, I have no stakes. To me, it is clear the theme is both a love theme (primary) for Paul and Chani, and a theme for the evolution of House Atreides (secondary). The film hinted this as well. If you recall, "A Time of Quiet Between the Storms" plays during the kiss scene, but also immediately serve as the background music for the montage that follows showing Paul's integration into Fremen culture. Zimmer also hinted this by saying "I hate calling it a love theme because it is so much more than that."

Postman delivered yesterday.

So, next (if we go in order), Danny Elfman, then Goldsmith, then Williams?

INVASION OF THE BODY SNATCHERS is dark, magnificent, gripping stuff. Denny Zeitling's score is brilliant.

Saw the new trailer on the big screen last week. Murray seems better at scale. But Ackroyd (in the trailer) is running away with it.

My favourite 10cc will always be HOW DARE YOU!, but I'll give this a spin.

It's common knowledge that Goldsmith was a chromogen not unlike Bernard Herrmann. Marco Beltrami said that Goldsmith had a chip on his shoulder that he never found his Spielberg or Lucas which I thought was a dig at JW. This sort of stuff isn't really that big a deal because it's so common. We tend to compare ourselves to our peers rather than to ourselves and at the top levels like these two were, it can be fiercely competitive but doesn't mean that much. It's sort of just an emotional response but if given a moment to think more clearly on it, I think Goldsmith would refine his criticism to more of a backhanded compliment. When JG died, his daughter published online about 50 pages of a bio she was writing about her dad. I think the book was either never completed or the project fell through, but I read it and she quoted JG commenting on many of his contemporaries. Again, it wasn't personal, just chromogeny comments when comparing himself to others feeling he didn't get an award someone else did for something he felt was inferior, type of thing. So what. Saying it doesn't make it true and isn't insightful to what he even really means.

This is actually how I feel about Powell in general, and why I pretty much regard him as the modern Goldsmith. He's ALWAYS doing something interesting even in "throwaway cues" (i.e. those really just don't exist, for him). There's no tiresome repetition. He's always varying something. Yavar

The second movie had the same problem for me. I couldn't hear a damn bit of the score in the movie itself at least half the time. The third one at least has a few more moments where there's not too much going on sound-wise so the music can shine more. Definitely, but there's plenty of gems in the first one as well! Absolutely a lot of hectic, bombastic/relentless action, but plenty of lovely quieter moments as well, such as "Romantic Flight", "Forbidden Friendship", "This is Berk's" intro, "Where's Hiccup?", "Coming Back Around", and "The Vikings Have Their Tea". Not to mention the sheer thematic depth even in the first film.

As promised, the complete Indiana Jones collection!

I'm currently at episode 4 of BoB. Confession time, never seen it before. I was always too young and it was too much for me. It's incredible! I have to watch an episode and then have a break for a day or 2 because it's just so heavy, but it's absolutely brilliant

The Flute Concerto.

Having listened to this release, hear are my impressions. Everything from the songs to Alan Menken's wonderful score is remastered, and it all sounds amazing. Not only are all the songs presented on this release, but Alan Menken's complete score for the finished film is included. The only thing missing is the early version of "Death of the Beast". However, that can be found on the previously released Special Edition soundtrack. The only minor setback is that a few tracks bleep into the next: "Main Title - Prologue" bleeds into "Belle", "Tonight's the Night" bleeds into "Beauty and the Beast", "Beast Lets Go" bleeds into "The Mob Song", and "Battle On the Tower" / "Death of the Beast" bleeds into "Transformation." However, these tracks technically segue into each other as in the film. It only becomes slightly jarring if you want to listen to one of these tracks individually. Besides that, this release is great.