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TJH132

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TJH132 last won the day on October 18 2014

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  1. Waiting is half the fun...
  2. Just received my vinyl copy of the album. Can't wait to give it a thorough listen at an appropriate volume (when the wife is not home!). Edit: The vinyl edition sounds fantastic! Everything is well-balanced and the dynamic range is nice and wide. I made a hi-res digital recording of the LP and it, too, sounds really good!
  3. Overall, I'm very happy with this purchase. The album art is fantastic; it's so nice to see something other than just a re-hash of the original art. The notes are good, but not really detailed -- more like a love letter to the score. While I like having the extra music from the expanded release, the generous original soundtrack presentation has always been a favorite of mine, so this is perfect. The sound "seems" to be good, too. There are a lot of variables that go into how "good" the vinyl sound really is (turntable, pre-amp, stylus, speakers...). On my system, it generally sounds fantastic, save one rather large issue: The overall level seems lower than many other albums I own (classical, soundtrack or otherwise), meaning I have to turn it up a bit louder than usual. This makes the noise floor of the vinyl more apparent than some other LPs. Still, I like the sound of it, especially the low end, that really rumbles in all the right spots!
  4. The Houston Revision is still my favorite of the three I have heard. I think he gets the opening and finale right, while mostly leaving the center alone (I think).
  5. I have the Varese CD, but not the Deluxe version that came out later, so this will be a good purchase for me. Although I think "The Cowboys Overture" is one of Williams' best pieces of film-to-concert music, the score itself isn't among my favorites.
  6. I've been buying new releases on vinyl more and more recently and just using the streaming services to listen casually. I like to make my own recordings from the LP, which usually sound VERY good on my set-up. One downside: Several recent new releases have had manufacturing flaws that cause recurring pops in some cues. My Mondo JAWS copy has one ruined cue; "Princess Leia's Theme" from the Record Store Day release has a flaw. Even the last cut from Lindsay Buckingham's newest album is marred. Makes me a bit hesitant to plunk down MORE money for LESS music.
  7. Hey, thanks! I happened to be checking around JWFan.com and saw that "Markings" is listed as "unreleased," when we all know it was released with the deluxe "Across the Stars" album. I even have it on vinyl! About the album cover I made: I do believe my creation pre-dates the piano solos disc with a very similar concept by a little bit, or at least I hadn't seen it before making mine. That close up photo of Williams had been circulating around the time and I liked how it really showed off his facial features. I used an Android app that was also popular at the time (though I can't remember the name of it) to juice up the image. Offsetting the picture to allow for text was really my only "creative" decision. Anyway, I'm glad someone liked it. I know I always appreciate when more talented folks on here make album art for all the concert rips we've been getting.
  8. Am I listening to a different score/watching a different movie, because the end credits I remember seeing in the theater and have on Blu-Ray finish with the big "Dorinda Solo Flight" music (right up through the Amblin logo), not either of the two "End Credits" on the album.
  9. Just coincidentally I've been listening to ALWAYS quite a bit lately. All this talk about how some of the cues are cut and pasted from other bits has be worried that the presentation of "Among the Clouds" will be ruined, as in, IF A SINGLE NOTE IS CHANGED, it will be ruined! It is easily one of my top ten favorite pieces of John Williams music! The suite from Spielberg/Williams Collaboration is too cobbled together, seemingly from the best bits, but with none of the structure and breadth. Also, were Spielberg and Williams not on the same page when it came to spotting this film? The talk from this thread makes it sound as though there are edits, re-tracked bits and alternates all over the place. For a movie as uncomplicated as ALWAYS, this seems odd.
  10. I thought JKR, after the first film, didn't allow WIlliams' "Children's Suite for Orchestra" on the soundtrack, or something like that. Sounds like she was VERY involved with musical choices.
  11. I think the "Scherzo" is a heavy and aggressive piece, unlike many of Williams' other concert works, which, as we know, have a tendency to focus on the dreamy quality of nature. I really enjoy it but would like to hear it a few beats-per-minute faster. The "Prelude" should be a fantastic addition.
  12. I wonder why Williams doesn't consider "TreeSong" a violin concerto? I mean, if it walks like a duck and quacks like a duck, it must be a violin concerto!
  13. I feel like the loss of the full horn chorale in "The Face of Pan" is a real detriment to the piece. I'll stick with the original concert version.
  14. In the spring of 1994, I won a "You Pick the Oscars" contest put on by a radio station in my college town. The grand prize was two plane tickets to anywhere in the USA. It took a bit of research (no real web at the time), but I discovered Williams was conducting the Boston Pops with Itzhak Perlman as soloist. One of my friends had relatives in Boston, so I provided the plane tickets and he provided the accommodations! The concert was very good (and long) with Peter Schickele on the program, too. Afterward, my friend and I, as well as a few others waited outside the stage door to try to get an autograph. We waited for a LONG time before Perlman made his way up the elevator and out the door. He graciously signed the inside cover of the SCHINDLER'S LIST CD. We waited even longer and most of the people left. Stagehands and whoever else told us Williams wouldn't be coming out and to just go home. Somehow we thought to walk a bit down the street to the underground entrance and, lo and behold, John Williams was walking to a waiting car! We pleaded with security to get an autograph and, taking pity on us, Williams stepped forward and signed the outside cover of the CD. My friend brought "...by Request" and got it signed as well. By then there was only one other person hanging around and he signed something for her, as well. What little chit-chat there was consisted of talking about how far we'd come for the concert (Oregon to Mass.). I've seen two other Williams-conducted concerts since and never felt the need to repeat the experience!
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