Richard Penna

The bolded ones are what's changed I'd love the Eshkeri to be Johnny English 2 but I suspect it'll be Stardust (OST is more than enough for me). The only Goldsmith I can think of that I'd go for would be 13th Warrior, and being Disney, certainly Intrada's territory.

That too. I'm interested in anything Djawadi comes up with for the Thrones universe.

Not gonna fault LLL for what they know sells, certainly. My hope (assumption, shall we say) is that as little as possible is coming at the cost of other genuinely new releases, in the same way that I'd assume that spending resources working on Williams' less important scores aren't coming at the cost of something that needs expanding more, i.e. they just have lots of stuff in the pipeline and it comes out when external factors allow.

Well, I don't truly understand the minutiae of the problems with the current sets, beyond their sound quality not being what it could, wrong takes and a small amount of missing music. But I do know that there's a market of at least, say 5,000 customers who would lap up ground-up rebuilds. Possibly more - who knows. I think the comms issue is bigger for the suits because they are the ones who have to choose to commit resources and allow a producer access to materials. From fans' perspective, if the majority of SW fans are happy with what's out there, I don't think it's our place to tell them they're wrong to enjoy what's out there. It would be a bit like a Blu-ray geek standing in a store telling every customer not to buy that version of the movie because it's got excessive edge enhancement.

Tbh I have little clue what they've released so far or what music there is to release from the Trek world. It's like a black box. I only assume that MV and/or Matt and a significant portion of their customers are absolute ST nuts. If it provides them with a good revenue source to invest in some other good stuff, so be it. If there were other releases that were ready, they'd put them out.

Yes, I scrolled up to see it and assumed one of our master photoshoppers had struck again. But no... more Star Trek. Yay.

No one outside our target group understands or cares what's wrong with the current sets, really. I worked with someone who is a mega SW fan, went crazy for the sequel films, wanted to dress up to go see them; the whole shebang. He wouldn't care one iota about new remastered sets - they're all on Spotify, what's the problem? Hence I'd suggest that they would ideally be speciality releases with sufficient scope for pressings to cater for demand, because that's a frame of mind to convince the suits that there's a conscious and credible market that would snap up thousands of copies overnight because that market understands what the product is. Only problem then is convincing them to do it partly for the cultural perservation, and not be deterred by the probably comparatively small profit it would make.

Ah, how could I forget Outlander S7! I guess he's very busy with all his projects and proably RoP but I'd love a return to the album per half season he did for S1. Also, any further Yellowstone/1883 material from Tyler/Vivian. I've never seen the show so I don't keep an active mind of where they are in the show's lifecycle.

Either Journey to the Island or Welcome to Jurassic Park. The former has my preferred version of the island theme and the magnificent choir at the end, whereas the latter has the wonderful piano work. I can never decide which of these is my favourite. Honourable second place: Hedwig's Theme

Given how long some of these releases are in gestation, I wonder how any anniversary release actually happens on its anniversary. Hopefully this would be one of Mike's simpler projects. I'm encouraged to see this (latter) on only two peoples' lists tbh. There are so many more pressing expansions for the labels to be working towards than whatever's missing from that.

I went there in 2003 I believe and yeah, it's tiny compared to what you'd think. Lovely section of the score there.

Contrary to what Bear's detractors want to hear, he never actually says that that theme/progression is awesome in that video. He just says they came up with some chords and decided it would work as the Percy theme, not that it's the most awesome thing anyone's ever composed. I still don't find it an overly interesting piece and the Avengers shadow is there, but a composer who has enthusiasm for what they're doing? Not gonna fault that.

Top of the list: RoP season 2. Otherwise I'm looking forward to hearing Alien, Gladiator 2, Dune pt. 2 and Powell's animation stuff. In terms of speciality releases, just three weeks until HTTYD 3 deluxe and of course who knows what they might pair it with.

I never ended up getting this because in most cases the recordings aren't really that different from the OSTs. There are some new ideas in a few cases but at most it would be buying the odd track. But I think if you're unfamiliar with the bulk of the scores, like you said it's a really good introduction. Except perhaps The Happening - a slightly odd selection because most of of that score isn't as quirky as that. In terms of expansions I feel the only one that truly needs it is The Village, with Signs following up as having some interesting unreleased material, but mainly only of interests to real enthusiasts like myself. Lady in the Water has around a half hour missing but even having seen the film, most of it is just more of the same.

I only read thread titles - I rarely notice which forum it's in. (Unread Content page is your friend) And I'm just putting my thoughts down... none of this Williams-only nonsense

The Patriot from Intrada The Terminal and Gladiator from LLL.

The video itself looks surprisingly bad, actually

Nor me. I heard one of the upbeat tracks posted somewhere and didn't really get it. But I've fairly easily established that outside of one one two scores, Desplat isn't my thing.

Here's an intial suggestion for a Varese style 30-minute sampler. (this will obviously reflect any changes I make in future) Much of the latter half of the OST is just more of the same, and by the end it's just a lot of string/brass work and I can only handle that in small doses. I thought 'Soar' might work as a nice celebratory ending overture. As already said, this is a fine score and there's nothing 'wrong' with it, per se, but all the music is just a slight variation on two or three ideas. Arguably not enough to sustain 90 minutes. Certainly, if you particularly like Saving Private Ryan and have a reasonable mentality towards hearing music not written by Williams, it's worth a shot.

I love Everest, and a beautiful example of a score that doesn't need complex melodies or sounds to be a damn good score.

Reducing the number of writers and composers and focusing on better quality sounds great at face value, but if the studios always knew what would be successful they'd all be making the same thing. They have to take some risks and commission something that may be rubbish or may be genius. And of course, all of that needs scoring and there aren't enough composers of the calibre that I suspect you want, to do all that work. I really think we have to learn to filter out and just ignore stuff we don't like.

The prologue was actually of the better signs for me when I first heard the album. At least, it told me that that this score probably didn't have the issue I have with Skull. Or, to put it another way, I find Skull's better parts (Jungle Chase, warehouse chase, spaceship taking off) more engaging than most stuff in Dial, but Dial is a more consistent listen overall. Skull's entire dramatic midsection just sends me to sleep.

A few years ago that wasn't really a problem. We bundled releases because it was convenient and saved a few $$s as well, but now Americans will pay $7.45 to ship Hook, for example - we internationals will pay $23. First world problem of course, but ultimately it dictates our buying patterns.

I just put it on and it's a very indie sounding score, the sort of thing Thomas Newman would do. Not a project for Williams IMO.

I've heard Tadlow's recordings all over the place in some of the BBC's shows (Top Gear and other documentary stuff) so the licensing audience likes their stuff, at least. If library companies (or those using the music) don't like what they're getting, they tend to stop representing a label. So yeah, some are a mixed bag for pure listening but that's the world of re-recording things, and you'll find versions of almost everything that are probably total crap because the real revenue source probably doesn't care if the orchestra's performance is a bit rubbish.