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  1. Holy crap guys, it's finally happening!!!1!
    13 points
  2. Happy Christmas everyone!
    13 points
  3. https://bit.ly/3oroUZz Dan needs no introduction. He's truly one of the greatest session musicians on the planet and he kindly shared a lot of insight on this episode about his work on Catch Me If You Can and many other things. Enjoy!
    12 points
  4. Re-listening to it lately, I am once again amazed by the Rise of Skywalker theme(s) and how JW once again wrote beautiful music that expresses the ideas the film itself tries but fails to do as was the case with the prequel films. The friendship theme is so sweet, sincere, and filled with longing in a way that is totally absent from the film itself and the victory theme is grand and triumphant in a way the visuals it accompanies are not. It's amazing and amusing that JW's final SW score once again speaks beyond the film and lifts the themes of the film up.
    12 points
  5. Honestly, for me, the performance itself it's not the main raison d'etre of the whole thing. It's JW, standing in that hall, conducting that orchestra, being showered with love by a great audience. I don't need flawless performances from such an event. It's the celebration itself. The commemoration of a man's legacy. It was magical. That's so much bigger and more important than flubs or performance mistakes (which I am in no position whatsover to deny or discuss)
    12 points
  6. Not exactly sure what this is yet, but I would assume it’s either going to be recordings of Williams’ music conducted by band director Fettig OR an official archival release of one or more of the concerts Williams himself has conducted for the Marine Band over the years. Generally the band records a new album every year, but I’m guessing the pandemic has forced them to plunder the archives for this year’s release. All I know about it is that it has the title, the cover, and “COMING SOON!” at this URL https://www.marineband.marines.mil/Audio-Resources/Educational-Serie
    11 points
  7. I figured we'd have to start the year and formal decade on a high note. X Main Title 1M1 The Forest (Revised) 1M2 Keyes Arrives 1M2A The Final Solution 2M2 Looking for E.T. - Might be my favourite little discovery here, the "mickey mousing" as Elliot throws the Pieces around and downs a couple. X The Encounter In this extended overture, themes are set up, some action grabs your attention, and the mood is established. 2M3 The First Meeting 3M1 Into the House 3M2 Meeting E.T. 3M3 E.T. and Elliot - Unused, movie tracks
    11 points
  8. The United State Marine Band (aka The President's Own) will perform selections of music by American composers, including John Williams, during the prelude of the Inauguration ceremony of President Joe Biden and Vice President Kamala Harris tomorrow, January 20, at the US Capitol. https://www.marineband.marines.mil/Portals/175/Docs/Presidential Inauguration 2021/2021 Inaugural Prelude Program.pdf
    10 points
  9. For all the challenges that 2020 brought us, the two albums for the second season of The Mandalorian were an encouraging reward at the tail end of an...interesting year. The music was, for me, love at first listen (no surprise), but I am still warming up to the presentations of the two volumes. Of course, at this point I understand why they were released this way, but certain omissions (some more glaring than others, especially considering a few, let's face it, mediocre cues have seen the light of day) have me hoping for some sort of deluxe edition. Up to this point no Goransson score has real
    10 points
  10. OK, here's a more serious answer: - His melodic gifts. - His ability and persistency to (almost) always have something interesting going on in his music, be it counterpoint, rhythmic patterns, harmonic changes and so on. - His ability to turn even mediocre ideas into good pieces through solid workmanship. -His sense of quality: at the point where some composers would have said that a piece is done, JW keeps working on it until he's got something both he and we find interesting.
    9 points
  11. Out of all the Williams scores that received some sort of expansion already (not counting FYCs), the ones I'd most want to be revisited for a new definitive edition would be 1) Last Crusade 2)Temple of Doom 3) Phantom Menace 4) Hook 5) Return of the Jedi 6) Empire Strikes Back 7) Raiders 8) Star Wars
    9 points
  12. This score is massively underrated by the entire film score community and will only go up and up over time, especially if we get a proper expanded album
    9 points
  13. No, sorry, this attitude is the reason why I almost never join discussions here, other than the fact that there are people expressing opinions similar to mine in much better, more concise way than I do. I frankly don't understand the reason why you (and others) continue to tout your horns about how disgraceful this recording is to your ears immediately right after someone says something positive about it. Of course discussion is healthy, but it's not when it's rounding in circles and repeating the same stuff over and over again, adding even conspiracy theories about Williams' health to spice u
    9 points
  14. Chen visits Disenchantment Land. Circa 2021. Forgive me.
    8 points
  15. Thanks for posting those videos, @Erik Woods. I was trying to inform as many people as possible, and forgot the most important place! Here is background on these videos: I hosted a virtual roundtable for 18 John Williams fans, all of whom cohosted "The Baton" with me. We talked for two hours about a lot of topics, including John Williams' legacy and the state of film scoring in the 21st century. There was also some lengthy debate about the music for two Indiana Jones films. But the highlight (at least for me) was a WORLD PREMIERE of a trombone overdub by Jim Nova of "Wide Receiver,
    8 points
  16. Babe: The Deluxe Edition (CD) Original Motion Picture Soundtrack Nigel Westlake UPC: 888072198562 Release Date: 1/8/2021 Limited Edition Of 1500 $ 19.98 Babe was a massive surprise hit in 1995. A children’s film starring a talking pig seemed to be the last thing anybody expected from visionary filmmaker George Miller (Mad Max), but writer-producer Miller, adapting a 1983 book with director and cowriter Chris Noonan, created a universally praised, moving film about a farm pig (a combination of animatronics and computer graphics) who longs to be a sheepdog. With a memorab
    7 points
  17. This is how it usually happens. Scores for major projects touch a lot of hands. In some cases the teams include interns and temporary staff who are very qualified but not part of a regular team. The pros keep their mouths shut but in some cases they need help too. The extended teams need access to the very material because if there is one orchestrator credited, there is probably a team working with that orchestrator. The same is true of the sound mixer or music editor especially on the biggest budget projects where the amount of the material can be unpredictable. Buried within the teams,
    7 points
  18. Ahem... I for one think the instrumental versions of "Merry Christmas, Merry Christmas!" are possibly the most festive music JW has ever composed, while the version with lyrics is utterly insipid. Seriously, have you ever just read the lyrics? Nothing could more obviously have been set to a tune after the fact than those whoppers. "SAAANta is HEERugenn, YESSS!" It makes the only somewhat insipid lyrics to "Somewhere in My Memory" sound like a theological masterpiece by comparison.
    7 points
  19. Jay

    TPM original end credits

    1M2 Star Wars Main Title = The main title recording, recorded using the published suite (bars 1-68) on February 5th 7M3 Throne Room = the recording this thread was created to discuss, ANH's entire end credits recorded using the published suite (bars 107-end) on February 6th Throne Room (End Credits) = either some kind of shorter rendition of the end credits also recorded on February 6th from the published suite that never leaked, or a full blown typo on the Dakota recording log. 7M3 End Credit = What we know as "Duel of the Fates", recorded on February 10th 7
    7 points
  20. When this concert was made available on streaming platform, I remember catching error in Star Wars main title and finding the tempo to slow for my taste on imperial march. I can now say in hindsight I have finally changed my mind. While I can still spot issues here and there, I can also recognise how rich sounding this recording is. I have a hard time not to smile listening to these pieces. So yeah, there are mistakes but I can now confidently say I don't care.
    7 points
  21. Is it me or is Bespin drunk and it's showing?
    7 points
  22. Jerry, this isn't a boys club, this is a public forum where we'd like everyone to feel welcome to discuss music and entertainment. Take your fantasies to other places on the internet.
    7 points
  23. Ironically it’s also shown just how powerful the portrayal of Luke in TLJ really is. He truly was a legend - the fear in Moff Gideon’s eyes when he realised who’d just shown up, and the ease with which he dispatched the dark troopers just goes to show how far Luke had fallen in TLJ and why his sacrifice at the end was such a crucial turning point for the Resistance. The problem was never in Luke’s portrayal in TLJ, it was that a lot of people lacked the imagination to understand what he must have achieved - and failed at - to arrive at that point. This episode just helps to fill in those ga
    7 points
  24. Today I finally took the shrinkwrap off my Season 1 2CD set from La La Land! (Previously I had only been listening to these scores via Spotify!) Boy was it a pleasure to listen to these scores again ahead of the Season 2 OST release, and hopefully Season 3 some time this year I love how each episode suite often has its own main theme, and they are often so catchy and good! Score by Score on the set Old Wounds (Broughton) - still my least favorite score other than Cottee's. I love the main theme of course - it's great! - but I don't really find t
    6 points
  25. Imagine if LLL didn't pursue new expansions for Superman for the 40th Anniversary? They wouldn't have discovered the first-gen multitracks were found and gathering dust in some storage room. Or if they hadn't spent years asking around for the lost Alien 3 masters, maybe they wouldn't have been called when the digital masters turned up? And just in time, considering the Disney acquisition! I doubt that release happens if those masters turned up today... We owe the labels such a debt of gratitude for the work they do.
    6 points
  26. It's amazing how many classic scores in big film studio's vaults only get transferred from rotting analog tape onto perfect digital only because a tiny specialty label asks for a license to release the music for sale. These labels are rescuing amazing recordings from avoidable decay!
    6 points
  27. Here's the info!! Album Selections “Sound the Bells” The Cowboys Overture Theme from JFK Excerpts from Far and Away Olympic Fanfare and Theme Escapades for Alto Saxophone and Orchestra from Catch Me If You Can Theme from Schindler’s List Raiders March from Raiders of the Lost Ark “Adventures on Earth” from E.T. the Extra-Terrestrial “Nimbus 2000” from Harry Potter and the Sorcerer’s Stone Main Title from Star Wars “The Mission Theme” from NBC News
    6 points
  28. Phantom Menace is way more frustrating AINEC It's full of awful sounding film edits, loops, and tracking - plus several highlights of the score that Lucas happened to not use in the film are simply missing Hook is sloppy and inconsistent in sound quality, but at least everything other than a few spots come from unedited original session recordings - and every major narrative beat of the score is there (barring the triumphant version of the Lost Boys theme recorded for the aftermath Hook's death). You can at least change the track order to get a pretty satisfying journe
    6 points
  29. Please do tell how this person can be contacted regarding this. These sorts of stories do seem to come out of the woodwork after a project is done and dusted. However, I’m sure it could be redone if true stereo elements surfaced for the complete score. The theatrical reissue and 5.1 remix just stereoized the mono and didn’t seem to drop in the few true stereo OST tracks that matched the film versions. So, that suggests they weren’t available at the time and certainly haven’t showed up since. Chris
    6 points
  30. Hadn't noticed these read "Star War" before! Hmm, I wonder exactly what 12/2, 12/2K, and 12/2B would be. Maybe 12/2K is a typo for the 12M2X insert? Both the Throne Room and End Title were written as one cue, but maybe they were split at the recording session and 12/2B is just the end credits portion? I imagine the "not numbered" recording would be Princess Leia's Theme.
    6 points
  31. Honestly, it seems there may simply have been too many flubs to catch them all. There's enough blame to go around — at the Vienna players, for their unfamiliarity with a lot of the music (if you've ever seen E.T., how does an entire section of violins accidentally launch into the climactic flying theme statement in cut time??), and at JW himself. It takes nothing away from his legacy to note that his powers as a conductor have diminished with age, and his steadiness in tempos has…relaxed. We got what we got — a document of one of the world's great living composers at 88 years old p
    6 points
  32. A score doesn't have to personally appeal to you to make it worth a label's effort to release it for those who do. Everybody has different tastes, and thank god for that, what a boring world it would be if everyone liked the same things equally as each other
    6 points
  33. I would love any combination of Hook 30th Anniversary, The Patriot 20th (possibly a delayed 2020 title), and hopefully an Indiana Jones box from Disney Records to celebrate the 40th of Raiders (to go with the upcoming 4K remasters). Probably one of Always/Amistad/CMIYC/The Terminal if there's no Indy box, because of the good relationships with the relevant studios (and Spielberg's team). Maybe a Williams at Universal type release to bundle together his more obscure, unreleased scores from that era (Story of a Woman, Sugarland Express, Rare Breed), like LLL's Goldsmith at 20th set.
    6 points
  34. I'll say it again, and more explicitly: Luke was not in the finale to be a full character, he's established to be the most powerful Jedi alive at that point in Star Wars, with his primary function to deliver Grogu from Din, and deliver some fan service as a bonus. That's it. Ironically, these "missed opportunities" people speak of would draw away focus from Mando. And we don't want anymore of that.
    6 points
  35. I wanted to post my thoughts here too instead of getting them lost in the iso score thread. I love how Williams applies themes in this score! Let's take them one by one, there are the usual external/descriptive ones: - Holiday Flight - there to be fun, not that much to say - The House - good early moodsetter, not much to say - The Burglars - fun, comedic, bumbling motif. I like how it forms and gets more threatening and more and more present, but when the "siege" begins, it gets scattered into fragments and has to reassemble itself slowly, a
    6 points
  36. It's in Huttese. Powell says the title "came from the original drawings that I was given over a year ago, before they shot that scene. I had to try to come up with something to film to and all I saw was this kind of little drawing. It really looked like a chicken to me. In a pot. So I just wrote some words in English, which was basically about how the singer was going to eat the chicken and then we translated that into Huttese….It’s a very strange piece, but it’s a strange galaxy and, you know, it’s an odd group of people at that party." https://www.starwars.com/news/solo-a-star-wa
    6 points
  37. 1. Horner 2. Powell 3. Other 4. Giacchino
    6 points
  38. You’re just being pedantic, please. It’s absolutely fine disliking the recording and saying why (which you already did a million times!), but trying to convince others who enjoy and find good things in it with such absurd conspiracy theories is pathetic. Give it a rest.
    6 points
  39. And I decided to make mockup of The Freedom March (15M2). This is an old alternative to Liberation - Exultate Justi. It seems that initially Exultate was written only for credits, but then it was decided to insert a shortened version of it into the movie itself. In this cue there is a choir with lyrics. However, I cannot implement the words in the mockup, so here they are. I don't quite understand what it is, but it looks like fake Chinese or something like that. Soon I will post a video with synchronized mockup and image (as it turned out, the cue fits very well).
    6 points
  40. The whole last page of this thread is just gross. Seriously, guys? It's a Star Wars thread on a film music forum, not some outlet for your sexual fantasies.
    6 points
  41. I strongly feel that when a new expansion of a score you like comes out, people should listen to the new presentation more than once without thinking about what's where - just take in the new program. This is why I don't like to make Google Docs available nor participate too much in discussion of breaking down each track right after an expansion comes out; I like to give the music an opportunity to speak for itself, and I hope people heed my advice! I also understand the desire, and enjoyment that can come from, re-editing a release to organize the music i
    6 points
  42. Well, if you care to go further down the rabbit hole, I can help fill in some more of the differences, especially with timpani and percussion, which I played professionally for several years: In the 1977 version, the very first chord has a single B-flat in the timpani, while the subsequent versions all have three grace notes leading in: The timpani is more prominent throughout, but the snare is still there if you listen carefully, it’s just way down in the mix vs. later versions. The two cymbal crashes (“piatti”) at bar 18 (just before the B section) ar
    5 points
  43. So how long until this thread is left to the people enthusiastic/optimistic about both this show and the future shows? The whining gets kinda old. Take it to the Disenchantment thread! I for one think the network of interconnected live-action D+ series is Lucasfilm finally learning all the right lessons from Marvel. That balance of a thing telling its own story while also at the same time fitting in to a larger fabric is just inherently fun to watch play out for me and many millions of other people. And I think Favreau/Filoni/Kennedy will be able to avoid the pitfalls we've see
    5 points
  44. Now that we have that leak, I've gone ahead and broken down the album according to what cue is what. Some people were confused as to whether the OST contained anything the leak didn't, so this should clarify things. "Godzilla (feat. Serj Tankian)" 3:10 7m7s Godzilla, though the album does omit the female backing singer. "Godzilla Main Theme" 2:34 7m8Dv1 End Credits Pt 4 "Memories of San Francisco" 2:11 1m01v10 Memories of San Francisco "The Larva" 4:23 1m03v5 The Egg - omits the final 40 seconds, fades into Larval Chaos. 1m04v4 Larval Chaos
    5 points
  45. I’m absolutely certain that mission number one for the music was to find an actual black jazz musician to write the music for the group of black jazz musicians in the film. It’s respectful and authentic and it helps Pixar avoid a certain type of social media backlash. The bigger question for me is, why didn’t they let that composer score the whole film?
    5 points
  46. But thank you, bespin, for putting in our heads the image of 3 mini-Jays running around a room shouting "I will enjoy consuming this piece of media" and quoting each other in spreadsheets.
    5 points
  47. Luke's portrayal and scenes in TLJ are among my favorite in the whole saga, whereas his scenes in TROS were just plain embarrassing
    5 points
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