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  1. ANOTHER WILLIAMS/SPIELBERG MASTERPIECE... RELEASE #4 AMISTAD: 25th ANNIVERSARY EXPANDED LIMITED EDITION (2-CD SET) LLLCD 1612 Music by John Williams Limited Edition of 5000 Units RETAIL PRICE: $29.98 ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST In celebration of John Williams‘ 90th birthday and the 25th Anniversary of the acclaimed feature film AMISTAD, La-La Land Records, Paramount Pictures, DreamWorks Pictures and Geffen Records present AMISTAD, a special 2-CD remastered and expanded release of Academy Award-Winning composer John Williams’ (E.T., SCHINDLER’S LIST, SAVING PRIVATE RYAN) original motion picture score to the renowned 1997 big-screen historical drama directed by Steven Spielberg and starring Morgan Freeman, Anthony Hopkins and Djimon Hounsou. Maestro Williams’ masterwork encompasses the depths and heights of human experience, unleashing unforgettable moments of anguish and uplift as it supports the film’s true chronicling of the 1839 African slave ship revolt abord the La Amistad and its subsequent landmark U.S. court case. A breathtaking fusion of orchestral Americana with African percussion rhythms and vocal chanting, this important John Williams score finally gets a definitive release with this deluxe 2-CD presentation, meticulously produced, edited and mastered by Mike Matessino, in consultation with the composer and director. Remastered in high resolution from studio master elements, Disc One and Disc Two of this program features the film Score Presentation, which expands the original 1997 soundtrack album by almost double its length, including cues not used in the film. The score presentation is followed on Disc Two by 50 minutes of bonus tracks including source music, concert arrangements, and alternates - some of which offer completely different approaches than the film versions. The exclusive, in-depth liner notes are by writer Jeff Bond, with the packaging’s elegant design by Jim Titus. This is a limited edition release of 5000 units. TRACK LISTING: SCORE PRESENTATION 1:45:04 1 Introduction And Retribution 4:40 2 July 4, 1839 4:04 3 Steering East 1:27 4 The Capture 5:00 5 Introducing John Quincy Adams 5:15 6 Meeting Of The Minds 3:58 7 Counsel Meets Client 1:36 8 The Ship Remembers 5:32 9 Visiting Adams 1:32 10 What Is Their Story? 3:44 11 Learning To Count 1:57 12 Tale Of The Lion’s Tooth 5:48 13 The Capture Of Cinqué 4:03 14 The Crossing 4:41 15 Tales Of Horror 7:40 16 Discovering The Bible 5:05 17 Prisoners’ Song 1:33 18 The Letter To Massachusetts 2:09 19 Cinqué’s Legal Mind 2:26 20 African Violet 5:33 Disc One Time: 78:10 DISC 2 SCORE PRESENTATION CONT’D 1 Adams’ Address To The Court 7:21 2 Adams’ Summation (Film Version) 3:01 3 The Verdict 5:10 4 Liberation Of Lomboko: Dry Your Tears, Afrika 2:17 5 Going Home 2:05 6 Dry Your Tears, Afrika (Reprise) 3:37 7 The Long Road To Justice 3:19 ADDITIONAL MUSIC 49:53 8 Cinqué’s Theme 4:13 9 Introduction (Alternate) 1:12 10 The Capture (Alternate) 5:02 11 Harbor Tavern 3:05 12 Cinqué’s Theme (Solo Flute) 2:07 13 Meeting Of The Minds (Instrumental Version) 3:45 14 The Ship Remembers (Alternate) 5:26 15 What Is Their Story? (Alternate) 3:33 16 The Crossing (Alternate) 4:23 17 Tales Of Horror (Alternate Excerpt) 3:19 18 Discovering The Bible (Alternate) 5:11 19 Cinqué’s Memories Of Home 2:39 20 Going Home (Alternate) 2:06 21 Dry Your Tears, Afrika (Alternate) 3:35 Disc Two Time: 76:50 Total 2-Disc Time: 2:35:00 This is a CD format release. https://www.facebook.com/lalalandrecords/posts/pfbid02C5KU3xb3nP4WCT7WxYTaESVxuT8ft2jsQpkeBUvMYQbwm9BhcWkYhFUiDFJKFUn4l
    30 points
  2. I've been assisting Mike on various titles since 2016, so far all of them John Williams titles. Amistad will be the 20th title released that I contributed something to. You'll see my name in the booklets under Project Consultant, Project Assistance, Production Assistance, or Special Thanks, depending on the title and what my contribution was. How I've helped has been different for every project. It ranges from just proofreading the PDF of the booklet at the very end of things, to being involved before the audio work begins to help make sure everything is accounted for. In other words: in a perfect world, the material that the studio sends over contains everything recorded, and Mike has time to listen to every take of every cue and assemble a new album containing the the main version of every cue, and every interesting alternate he heard as well. But we have learned that sometimes what gets provided is not entirely comprehensive, and more up-front work has to be done to track down all the material needed to hopefully make a release definitive. Also, some projects have very tight schedules, so Mike does not have the opportunity to spend time listening to every single take of every single cue, and instead has sometimes sought my assistance to figure out what music should be attempted to be located and included. In between those extremes, there could be other things, such as proofreading the official excel file that has to be filed for every title; listening to a first pass mastering of some tracks (or a final mastered album) and providing feedback; having some back and forth discussion about how to present a wealth of material in the best way (WOTW had a lot of this); discussion of track titles; researching dates or articles/interviews about scores; loads of other things. For the Jurassic Park reissue, Mike brought me on board the project to see if we could make it as definitive as possible. This led to him making new builds of 2 cues that had been a little different on all prior albums compared to the film (Journey To The Island and Dennis Steals The Embryos), and also a dive into unused takes for a variety of cues to see if anything interesting was recorded that could be included. For that I relied on the knowledge of some JWFanners who had found differences in the sheet music compared to the final versions of some cues, and made sure they got thanked in the booklet. In the end, none of the differences seen in the sheet music were recorded, so they all must have been worked out and changed during rehearsals - but it was great to know that definitively. I then provided feedback on the new mastering, and made some proofreading passes of the new booklet. For Amistad, I was not brought on board until after Mike had already assembled and mastered the album, but I provided feedback on volume levels - I can't remember if this was before or after he had sent it to JW for approval. For one track that needed a new title, Mike used one of my suggestions for it. I gave feedback on the excel file. Much later, I contributed something else I won't reveal just yet, and proofread at least two passes of the booklet. I also chose the samples that will be posted on Tuesday, and assisted with the official press release wording.
    23 points
  3. I don't know what to say about this album, except that it's a masterpiece on multiple levels. It's a masterpiece of a film score - from themes to underscore to orchestration to soloist work.... I continue to be astounded by this score's many stand-out moments It's a masterpiece of a recording - say what you want about other recordings of his, but Shawn Murphy was at the top of his game in 1997 and this recording is one of the most satisfying recordings of his I've ever had the pleasure of listening to It's a masterpiece of album production - the main program is paced brilliantly, finally showcasing what Williams did for this film in a way the old score album couldn't come close to, and even the film does not. The main program flows so perfectly into the bonus track section you just want to keep listening and don't even feel like you're in a bonus track section. Any so many specific decisions were made to fit everything recorded for the score into 2 discs, but still keep a great flow throughout... Mike's instincts have never been better are how to take a big score and make it listenable. And time I listen to a random track, I just keep listening to the album from there. There is no album of music of any genre I've listened to more than this since getting it. It's an amazing release and I can't wait for everyone to hear it. It's a must-have for any Williams fan.
    23 points
  4. Here's how busy Williams was from late '96 to early '98 November 26-27 '96: "Victory Celebration" recorded for Return of the Jedi: Special Edition (film opened March 14 '97) December 1,2,4,6 '96 - Rosewood score recorded (film opened February 21 '97) (unknown date) - Seven for Luck composed for soprano Kathleen Battle intending to debut some time in 1997 in Washington (ultimately debuted July 25 1998 with Cynthia Haymon instead) March 18-21 : First half of The Lost World recording sessions March 24: 69th Academy Awards ceremony ("Best Original Dramatic Score" nomination for Sleepers, lost to Yared's English Patient) March 27,28,29, April 2 - Conducting Boston Symphony Orchestra at Symphony Hall (includes The Five Sacred Trees) April 18-22: Second half of The Lost World recording sessions (film opened May 23) (unknown date) - DreamWorks SKG logo music composed and recorded (debuted with The Peacemaker, September 23rd) May 23,24 - Conducting Boston Pops at Symphony Hall (includes "A Twentieth-Anniversary Celebration of Star Wars") May 29,30,31 - Conducting Boston Pops at Symphony Hall June 3,4,5,6 - Conducting Boston Pops at Symphony Hall ("The Lost World" concert debut) July 5,6 - Conducting Boston Symphony Orchestra at Tanglewood July 12 - Conducting Boston Pops Esplanade Orchestra at Tanglewood (includes Star Wars celebration) July - Seven Years In Tibet score recorded (film played September 13 at TIFF, then opened October 10) August 5 - co-conductor for Tanglewood On Parade night at Tanglewood August 29-30: Hollywood Bowl "Star Wars 20th Anniversary" concert (unknown date) Elegy for Cello and Piano composed, and performed at the memorial service by John Williams on piano and John Waltz on cello October 6-26: Amistad score recorded (film opened December 25) December 27-28: Conducting Boston Pops Esplanade Orchestra at Symphony Hall February 21-23 '98: Saving Private Ryan score recorded at Symphony Hall (film opened July 24 '98) May 22-23 '98 - Conducting Boston Symphony Orchestra at Symphony Hall ("Dry Your Tears, Afrika" concert debut) Amistad was recorded almost a year after Rosewood, and only 4 months before Saving Private Ryan Looks like its another score he would have written while living in Massachusetts for a month for Tanglewood season Looking at this again, it seems crazy that Spielberg was even able to fit in Amistad in between The Lost World and Saving Private Ryan!
    15 points
  5. FROM YOUR FRIENDLY NEIGHBORHOOD SOUNDTRACK LABEL... RELEASE #3 SPIDER-MAN – 20th ANNIVERSARY MOTION PICTURE SCORE: EXPANDED AND REMASTERED LIMITED EDITION (3-CD SET) LLLCD 1608 Music by Danny Elfman Limited Edition of 5000 Units RETAIL PRICE: $39.98 ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST La-La Land Records, Columbia Pictures and Sony Music proudly celebrate the 20th Anniversary of the beloved 2002 motion picture SPIDER-MAN with a remastered and expanded 3-CD deluxe presentation of renowned composer Danny Elfman’s (BATMAN, BATMAN RETURNS, DARKMAN, MISSION: IMPOSSIBLE) original score. This landmark super-hero adventure starring Tobey Maguire, Kirsten Dunst and Willem Dafoe, and directed by Sam Raimi, swung the titular webslinger onto the big screen in wildly successful fashion, launching a blockbuster film franchise and creating another wonderful artistic collaboration between director Raimi and composer Elfman, who had previously teamed up for DARKMAN and A SIMPLE PLAN. Teeming with thematic motifs that expertly swing from kinetic and soaring action to heartfelt drama and romance, Elfman’s SPIDER-MAN score is an orchestral knockout and a notable work in the composer’s acclaimed canon. Finally, this 3-CD presentation showcases the score in all its glory, remastered and expanded with a bounty of previously unreleased material! DISC 1 features the original 2002 score soundtrack assembly plus two bonus tracks, while DISCS 2 and 3 unleash the expanded film Score Presentation along with Additional Music bonus cues. Produced by Neil S. Bulk and Dan Goldwasser, and mastered by Doug Schwartz from studio vault elements, this special release is limited to 5000 units and features a 32-Page booklet with exclusive in-depth liner notes by writer Jeff Bond and heroic art direction by Dan Goldwasser. TRACK LISTING: DISC 1 ORIGINAL SCORE ALBUM 1. Main Title 3:29 2. Transformations 3:32 3. Costume Montage 1:19 4. Revenge 6:13 5. First Web 0:57 6. Something’s Different 1:17 7. City Montage 1:50 8. Alone 1:38 9. Parade Attack 3:54 10. Specter Of The Goblin 3:48 11. Revelation 2:32 12. Getting Through 2:05 13. Final Confrontation 7:20 14. Farewell 3:11 15. End Credits 1:52 TOTAL ORIGINAL SCORE ALBUM TIME 45:05 BONUS TRACKS 16. Main Titles (Album Version) 3:41 17. Farewell (Album Version) 4:43 TOTAL BONUS TIME 8:25 DISC TIME 53:30 DISC 2 SCORE PRESENTATION 1. Main Titles (Album Version) 3:41 2. On The Bus 0:40 3. Spider Bite / Deadlines 2:25 4. Transformations (Film Version) 3:50 5. A New Man 1:37 6. Something’s Different 1:21 7. First Web 1:00 8. New Powers 2:13 9. Web Slinger 1:18 10. Backyard Connection 2:12 11. Costume Montage / Web Practice 1:57 12. Harsh Words / Peter Wins 0:57 13. Revenge (Film Version) 6:53 14. Enter The Goblin 0:20 15. Alone 1:38 16. City Montage (Extended Version) 1:59 17. Moondance / Photography / City Stinger 1:42 18. Norman Gets The Boot / Spidey-Sense 0:40 19. Parade Attack (Film Version) 5:07 20. Specter Of The Goblin (Film Version) 2:20 21. Roof Chat 3:05 22. Hint / Trouble / Kiss 3:21 23. Fire 2:51 24. Drop Of Blood 0:50 DISC TIME: 54:34 DISC 3 SCORE PRESENTATION CONTINUED 1. The Clue 1:12 2. Norman’s Troubles 1:30 3. The Revelation 1:10 4. Getting Through (Film Version) 2:13 5. Father And Son 0:20 6. Danger / On The Bridge 1:51 7. To The Rescue 4:45 8. The Final Confrontation 4:18 9. Farewell (Album Version) 4:43 10. End Credits (Extended Version) 1:53 SCORE PRESENTATION CONT. TIME 24:16 TOTAL SCORE TIME 1:18:50 ADDITIONAL MUSIC 11. New Powers (With Alternate Ending) 2:10 12. Backyard Connection (Alternate) 2:41 13. Costume Montage / Web Practice (Alternate) 1:45 14. Revenge (With Alternate Opening) 7:12 15. Parade Attack (With Alternate Section) 5:07 16. Specter Of The Goblin (With Alternate Opening) 2:09 17. Fire (With Alternate Section) 2:51 18. Norman’s Troubles (Alternate) 2:04 19. Getting Through (Alternate) 2:14 20. To The Rescue (With Alternate Section) 4:43 21. The Final Confrontation (With Alternate Opening) 4:21 TOTAL ADDITIONAL MUSIC TIME 37:32 DISC TIME 1:01:48 TOTAL COLLECTION TIME 2:49:52
    14 points
  6. Absolutely amazing! Look at that runtime! We estimated 40 minutes of unreleased music but this trumps those estimates (and expands upon the 55 minute OST) with a whopping 100 minutes! Also consider the OST partially repeated music from track 1 in track 14! Completely blown away by this. This could be the Eiger Sanction of 2022 in terms of a completely new musical experience we hardly knew existed. Thank you LLL and MM!
    14 points
  7. NOBODY DOES IT BETTER THAN LA-LA LAND RECORDS... RELEASE #2 TOMORROW NEVER DIES: EXPANDED/REMASTERED 25TH ANNIVERSARY LIMITED EDITION LLLCD 1607 Music by David Arnold Limited Edition of 5000 Units RETAIL PRICE: $29.98 ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST La-La Land Records, Metro-Goldwyn-Mayer and Geffen Records proudly present the remastered and expanded 2-CD re-issue of the original motion picture score to the 1997 feature film TOMORROW NEVER DIES, starring Pierce Brosnan as James Bond 007, Michelle Yeoh and Jonathan Pryce, and directed by Roger Spottiswoode. Renowned composer David Arnold (STARGATE, DIE ANOTHER DAY, THE WORLD IS NOT ENOUGH) unleashes a triumphant score -- his acclaimed debut in the James Bond canon. It’s a breathtaking and sophisticated epic work that propels Bond through an exciting globe-spanning adventure teaming with action, dramatic intrigue and romance. Arnold brings a contemporary edge to Bond, expertly melding orchestra with electronics in robust fashion, but he simultaneously preserves and honors the series’ classic musical legacy, often bringing it thrillingly front and center. Remastered and expanded with a treasure trove of previously unreleased music, this deluxe 2-CD set showcases Arnold’s legendary score as well as the movie’s opening and closing songs, “Tomorrow Never Dies” performed by Sheryl Crow and “Surrender” performed by k.d. lang, along with additional bonus music featuring alternate score cues and the previously unreleased source cues “It Had To Be You” performed by Simon Greenaway and “Adrift” and “Shaken But Not Stirred” performed by Simon Greenway and Sacha Collisson. Also here, a never-before-released alternate opening for “Surrender”! Produced by David Arnold and Neil S. Bulk, and mastered by Doug Schwartz, from original stereo digital tapes provided by MGM, this special release is limited to 5000 units and features exclusive, in-depth liner notes by writer Tim Greiving, which include new comments from the composer. The sharp art design is by Dan Goldwasser. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. White Knight† 8:28 2. Backseat Pilot*† 1:41 3. Tomorrow Never Dies (Performed By Sheryl Crow) 4:50 4. The Sinking Of The Devonshire (Extended Version)** 7:22 5. MI6*† / Launch The Fleet*† 1:34 6. Company Car (Extended Version)**† 3:35 7. You Have A Phone Call, Mr. Bond* 1:02 8. Station Break 3:29 9. Carver And Paris* 1:06 10. Paris And Bond (Film Version)** 1:56 11. The Last Goodbye 1:34 12. Hamburg Break In 2:52 13. Hamburg Break Out 1:24 14. Printing Press Fight* 1:22 15. Escape To Hotel*† 2:28 16. Doctor Kaufman 2:27 17. *-3-Send 1:15 18. Backseat Driver (Film Version)**† 4:35 19. Okinawa* / HALO Jump* 2:25 20. Underwater Discovery 3:37 21. Vietnam 1:36 22. Banner Escape* 1:10 23. Bike Chase† 6:43 24. Bike Shop Fight (Film Version)** 2:32 TOTAL DISC 1 TIME: 1:11:41 DISC 2 SCORE PRESENTATION CONTINUED 1. Ha Long Bay 2:32 2. Boarding The Stealth† 4:57 3. Grenade* 1:39 4. A Tricky Spot For 007** 3:49 5. Stealth Shoot Out*† 3:33 6. Carver Gets It*† 2:53 7. All In A Day’s Work† 5:08 8. Surrender (Performed By k.d. lang) 3:56 TOTAL SCORE TIME: 1:40:20 ADDITIONAL MUSIC 9. White Knight (Original Version)**† 8:37 10. Backseat Pilot (Original Version)*† 2:20 11. The Sinking Of The Devonshire (Original Version)** 5:37 12. Company Car† 3:06 13. Shaken But Not Stirred (Simon Greenaway / Sacha Collisson)* 3:27 14. It Had To Be You (Performed By Simon Greenaway)* 2:03 15. Adrift (Simon Greenaway / Sacha Collisson)* 3:58 16. Paris And Bond 1:56 17. The Last Goodbye (Alternate Version)* 1:30 18. Printing Press Fight (Film Opening)* 1:10 19. Backseat Driver† 4:35 20. Banner Escape (Film Mix)* 1:10 21. Bike Shop Fight 2:42 22. Surrender (Alternate Version) (Performed By k.d. lang)** 3:53 TOTAL ADDITIONAL MUSIC TIME: 46:26 TOTAL DISC 2 TIME: 1:15:12 * Previously unreleased ** Contains previously unreleased material † Contains “James Bond Theme” written by Monty Norman TOTAL ALBUM TIME: 2:26:53 https://www.facebook.com/lalalandrecords/posts/pfbid037YLgniHaqPgAqsQ2LZV8gjj8ouWA2joLgkUrrcyB5hdv2LumKMtNJxRu5dAJviXzl
    13 points
  8. It's amazing that this score has: -traditional orchestra -americana passages -ethnic percussion writing -mixed choir -male choir -solo vocal work -various instrument solo passages And for 2 hours, Williams juggles all this effortlessly. It never feels like you're jumping from style to style with no focus. And also, that Shawn Murphy was able to capture all this so perfectly, so these elements can be mixed together and sound so good, so consistently. It's all remarkable, and so pleasing to the ears.
    12 points
  9. AFM turning the most leftie JWFans into disillusioned anti-labor reactionaries
    11 points
  10. There are better dating sites than Amazon.
    11 points
  11. Dan Goldwasser says The original recorded tracks sound absolutely pristine - the 1972 OST was not reflective of the quality of the recording. Chris did an excellent job on the mix, and Doug Schwartz did a wonderful job on the mastering. https://filmscoremonthly.com/board/posts.cfm?threadID=149830&forumID=1&archive=0
    10 points
  12. I think people are just being realistic. Pointless getting our hopes up for Indy or Star Wars (even if Disney allowed a smaller label in that wheelhouse, it'd be Intrada) Everything post-2005 is off-limits (the date hasn't changed, so far as we know) so no Tintin/Memoirs of a Geisha/Lincoln with lots of unreleased music MV has ruled out Hook Oliver Stone box set is off the table Amistad is the last eligible Spielberg score with significant unreleased music. The other two pre-2005 Spielberg scores (CMIYC/Terminal) don't have much unreleased Patriot and Nixon have significant unreleased music but both are Intrada territory (due to the Disney connection) So it might come from the non-Spielberg canon, but with all the amazing expansions we've had over the years, there's less meat on the bone. Would be nice to finally tick Sugarland off the list... but I wouldn't exactly do backflips. I'll be blown away if something post-2005 is expanded, a previously ruled-out title like Tintin. It wouldn't just be an incredible expansion in its own right, but it would signal an opening of the floodgates for previously untouchable scores.
    10 points
  13. AN OFFER YOU CAN'T REFUSE... 5TH AND FINAL RELEASE... THE GODFATHER: 50th ANNIVERSARY LIMITED EDITION (2-CD SET) LLLCD 1610 Music by Nino Rota Limited Edition of 5000 Units RETAIL PRICE: $29.98 ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST La-La Land Records, Paramount Pictures and Geffen Records proudly present a remastered and expanded Limited Edition 2-CD release of acclaimed composer Nino Rota’s (8 1/2, LA DOLCE VITA, WAR AND PEACE) original motion picture score to the 1972 Academy Award-winning masterpiece THE GODFATHER starring Marlon Brando, Al Pacino and Diane Keaton, and directed by Francis Ford Coppola. This deluxe release of Nino Rota’s iconic masterwork marks the 50th Anniversary of the classic film and its score, both of which have woven themselves deeply into the fabric of our culture. The music is a dramatic and emotional wonder – deeply soulful and romantic, yet tragic and teaming with pathos. The score’s waltz and love theme have both joined the pantheon of the most universally recognizable movie themes in history. Produced by Dan Goldwasser and Neil S. Bulk, mixed by Chris Malone and mastered by Doug Schwartz from studio vault elements, this 2-CD release includes previously unreleased and unused music and has been approved by Francis Ford Coppola and American Zoetrope. Disc One showcases the film’s expanded score presentation along with additional and alternate cues, while Disc Two presents the remastered Original Soundtrack Album and Bonus Tracks that showcase music by Carmine Coppola, as well the songs “I Have But One Heart” and “Manhattan Serenade.” The exclusive, in-depth liner notes are by writer Tim Greiving and the sharp art design is by Dan Goldwasser. Limited to 5000 units, this simply put, is a soundtrack release “you can’t refuse!” TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Main Title / Corleone Waltz #1 1:22 2. Hollywood* 1:26 3. The Horse’s Head** 1:32 4. Sollozzo The Turk** / Luca Brasi 1:57 5. Christmas* / Prelude To Murder* 3:19 6. The Aftermath 0:32 7. Bad News** 0:54 8. Bad Luck / Sicilian Message / Meditation* 1:22 9. The Halls Of Fear** (Extended Version) 4:21 10. Michael’s Decision** / The Waiting Game** 2:18 11. Armed And Ready** 0:32 12. Set The Meeting** / Michael Takes Over 1:19 13. The Pickup* (Extended Version) 3:02 14. The Getaway 0:22 15. Sicilian Pastorale** 3:01 16. Love Theme From The Godfather (Film Version) 2:28 17. Corleone Waltz #2* 0:22 18. Apollonia 1:22 19. Sonny’s Dead** 1:40 20. Reunion** 2:22 21. Marry Me, Kay 1:15 22. Las Vegas Strip* 0:37 23. Too Little Time 1:50 24. The Baptism (Extended Version) 5:08 25. No Tears For Tessio** 0:55 26. The New Godfather (Film Version)* 0:50 27. Corleone Waltz #3* 1:59 28. Finale 1:05 29. End Credits** 3:19 TOTAL SCORE TIME 53:30 ADDITIONAL MUSIC 30. Main Title (Alternate) 0:36 31. The Horse’s Head (Film Version) 1:19 32. Bad Luck (Alternate) 2:03 33. Set The Meeting (Alternate) 0:40 34. The Horse’s Head (Trumpet Solo) 1:04 35. The Halls of Fear Pt. 1 (Film Version) 3:05 36. End Credits (Alternate) 3:53 TOTAL ADDITIONAL MUSIC TIME 12:58 TOTAL DISC TIME 1:06:28 DISC 2 ORIGINAL SOUNDTRACK ALBUM 1. Main Title (The Godfather Waltz) 3:06 2. I Have But One Heart 2:56 Performed by Al Martino 3. The Pickup 2:54 4. Connie's Wedding 1:33 5. The Halls Of Fear 2:11 6. Sicilian Pastorale 3:01 7. Love Theme From The Godfather 2:41 8. The Godfather Waltz 3:34 9. Apollonia 1:23 10. The New Godfather 1:59 11. The Baptism 1:49 12. The Godfather Finale 3:53 ORIGINAL ALBUM TIME 31:30 BONUS TRACKS 13. Manhattan Serenade 1:21 14. The Godfather Tarantella 3:02 15. The Godfather Mazurka 2:56 16. The Godfather Foxtrot 2:50 17. This Loneliness 1:46 18. Lucky 0:43 19. Connie's Wedding (Music Only) 1:25 20. Antico Canto Siciliano 0:56 21. Mazurka ala Siciliana 0:26 TOTAL BONUS TIME 15:40 TOTAL DISC TIME 47:10 TOTAL COLLECTION TIME 1:53:38 * Not used in film ** Contains material not used in film https://www.facebook.com/lalalandrecords/posts/pfbid036HiRnhkMdXbtwZwSqKqfMyg1iCT6ztTmhUGUHMhnMR79mU48czPoYwwjnKMVbxBsl
    9 points
  14. Amen to this. I was actually lucky enough to work for Neil on this release -- my first credited gig on a soundtrack! And fitting that this score was my first Bond experience in a theater and remains my favorite Bond score to this day. (My second credit is on the new Spider-Man which was also a childhood favorite) I'm so grateful that Neil brought be along for the ride and I can't wait to hear everyone's reactions to this release! Some real treasures await!
    9 points
  15. Uganda, south west, not far from the border with the Democratic Republic of the Congo (Zaire at the time). We saw the mountain gorillas a few days later. One of the highlights. Might as well post pics.... I listened to parts of The Lost World while on that trek. I was seriously worried about being eaten by raptors.
    9 points
  16. Everyone keeps asking if it’ll be the Raiders or Crusade Nazi motif, or a brand new one, but I’m really hoping for a reprise of the train motif
    9 points
  17. The Bond films were my gateway to being a score fan. I didn't even know OSTs existed when I was a teenager in 1997. Then all the Bond films were shown in order each week on TV in the run up to the release of TND and I became captivated by both the series and its music. TND was the first OST I ever bought. I met David Arnold at the Royal Albert Hall in 2019 and he signed the TND insert. When I told him it was the first score I ever bought, he was actually quite pleased with that, and asked for the insert back and added 'hopefully not your last score!!"
    8 points
  18. Is that the choral section at the end of OST track The Middle Passage? - I've only seen the film once, and that was a long time ago. And for those in the know, is the choral piece its own track on the new release? The Prisoner's Song, perhaps, as it's about the same length? I have some fond memories of this score, in particular Dry Your Tears, Afrika. I travelled around Africa a few months after the soundtack was released, and I'm certain it's what I gave this kid a listen to on my Sony Walkman:
    8 points
  19. Incredible finale!!! I loved it. It took me 6 episodes to really get into this show, but after this season is done I'm fully on the side of loving the show. I think it's incredible. I've really come to care about all the characters, the good and bad. The whole time we were on Ferrix was incredible and I loved how the sequence evolved and at the end it (literally) exploded. It was so cool to have all the characters in the same place, knowing that something would happen. Incredible acting across the board. Britell's music was the best up to this point. Oh, and stay until the very end because there is a post credits scene that for the first time links this series to the larger SW story and I thought it was brilliantly done. And it closed one of the story arcs this season very well. Bring on S2!!
    8 points
  20. They would be Slave Adults by now
    8 points
  21. 8 points
  22. Okay, is there anything PWB has done that one would consider bad? Or is it purely just the "woman lead in a modern Disney production" thing? Huh, she was the Droid lady in Solo. I did remember that character not sitting well with some.
    8 points
  23. In case you needed a hit of hopium this morning...
    8 points
  24. A snippet of my music that I wrote and recorded and being played every night at the drone and light show during the World Cup IMG_8539.MOV
    7 points
  25. 7 points
  26. It'll be fascinating to hear Indy action music written by 90 year old John Williams. I just hope the action setpieces allow his score to breathe more than the fragmented moments in TROS. He proved with TLJ he can still write longform action cues with as much energy as anything in the OT.
    7 points
  27. One thing I'd like to see them address in this film, given it will be the last one, is how Indy has finally resolved his own questions of faith. He's presented as someone at least somewhat sceptical of religion (despite I suspect being raised Catholic) and all things supernatural in the first film, and to a certain extent the second, but by the end of the third film, he must be a believer of some sort given all he's seen. At the end of Raiders, he tells Marion to look away, suggesting he believes in the Arks power at least enough to close his eyes. At the end of Temple of Doom, he tells the villagers he understands the power of the Shankara stones, and in Last Crusade Donovan says "It's time to ask yourself what you believe." Clearly, Indy has seen enough to believe. The films themselves aren't neutral or nuanced on the issue, in context of the films, God is real, the power of God is real, the power of the Ark & Grail is real, as is the power of the Shankara stones. So what does Indy believe? Who am I kidding, there’s no way they’re going there, but it's a fascinating aspect to the character (to me, at least) that has never really been resolved.
    7 points
  28. PWB on hearing Helena's Theme:
    7 points
  29. My interpretation is that TROS sucked.
    7 points
  30. Well, if that uncertainty doesn't persuade Disney to immediately commission MM to produce a proper re-release of all the OT scores with definitive information about where and when everything was recorded, I don't know what will. So there. Mark
    7 points
  31. Too true. It's funny how people have become so possessed with fear over their favourite franchises being 'taken over', especially by "woke" characters. We haven't even seen a frame of footage yet, but people are already proclaiming that Phoebe Waller Bridge will be the end of the series... SMH. Excited to see the film. Usually it's done out of love and appreciation for the original films/media. I have no doubt that James Mangold loves Indiana Jones, the same way that Rian Johnson and JJ Abrams love the original Star Wars films. If the film doesn't turn out so well, that's usually down to poor creative decisions or lack of planning. Given that so much of the marketing for Episode VII revolved around going back to the old fashioned way of making a Star Wars film, I don't think these studios go into making a legacy sequel with the intention of dramatically revising or reframing a classic film.
    7 points
  32. Maybe his score for episode 4 isn't very good so JHN is only congratulating him on the others.
    6 points
  33. There'd be no reason to do that since everything on it has a happy new home in the new main program or bonus track section Oh man, I couldn't disagree with that more. He chose many of the right highlights, sure, but left off so many others, repeated music, and worst of all chose an order to put the music in that does a disservice to it all. I can't stand the old album presentation any more. One of the score's four themes represents Africa, and Williams only included one arrangement of it on the score album, in one track. The themes goes through several fun variations across the whole score. Spielberg must have been unsure about this scene because Williams recorded not one, not two, not three, but four different options for this scene, and they are not all as over the top as the one that went into the film.
    6 points
  34. It's not greed. It's a mechanism that gives musicians the opportunity to give value to their work and get some safeguard for their pensions, especially because a lot of this music is constantly reused and repurposed in many forms. I know this seems unfair to soundtrack collectors, but it's a way that unions agreed upon to protect musicians, without whom those film scores we all so love wouldn't exist at all. These session musicians are normal people who work to pay mortgage, tuition for their kids and save some earnings for when they're retired, like all of us. Because film music, before being art that has to be made accessible to everyone, is work. Surely very beautiful and even a privileged one, but still work.
    6 points
  35. Expecting full repayment for the first 10 years is fine. The rule should have been a sliding 10 years, not locked to July 3rd 2005 forever
    6 points
  36. "Again we see there is no piece of ass you can possess which I cannot take away."
    6 points
  37. I don't think even JJ knows what occured in that film.
    6 points
  38. I think he might be mistaken, accidentally saying Abbey Road instead of Anvil considering they had recorded at Abbey Road so much since ROTJ. There's a decent amount of TESB session footage and all of it is at Anvil. We all know George is, uh, not great at historical accuracy regarding his projects.
    6 points
  39. this time there are *few* bars where I'm not 120% sure, but… enjoy.
    6 points
  40. Me at LLL headquarters when I’m in Burbank next week.
    5 points
  41. THIS IS LITERALLY ONE OF MY FAVORITE SCORES OF ALL TIME!!!!! I have played it so much, in so many different formats - OST, isolated score rip, Chapter III expansion, blend of iso score + OST + chapter 3, etc cetc Finally! FINALLY! To have it all, in proper sound, produced by Neil.... this is a dream come true And I can't believe I'll be in Italy when it comes out, so won't even get to hear it until 3 weeks from now!!!!!!!!!!!!!!!!!!!!!!!!!!!
    5 points
  42. I'm just going to go on the record right now and say that if FWB did hypothetically take over Indy's place at the end of the film, I really don't care. Harrison is done with the character, so the only two possibilities going forward are: 1. Stop making any Indiana Jones content forever, or 2. Pass on the torch. Neither is ideal, but that's the reality. I also don't see how FWB would be a negative, aside from people that hate on her simply because of her character in a single film (Solo).
    5 points
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