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Everything posted by Trumpeteer

  1. The "Star Wars" episode of my podcast has arrived, and it's a big one! I had the privilege of talking with Sir Clive Gillinson, who played cello on the score with the London Symphony Orchestra in 1977. He looks back on his memories of working with John Williams and seeing the film with music for the first time. I also take time to discuss the main theme and other music in the film. Chris Hatt returns to join me in that discussion. Another former guest co-host, Brian Martell, relives his memory of seeing Star Wars in the theater and being captivated by the music.
  2. October has been a busy month, and very fun! Family Plot was a better score than I expected. And the movie was OK, too.
  3. Everyone is entitled to their opinions, and I understand why you think "The Missouri Breaks" stands up as a good film. I enjoyed hearing the score for the first time, but I was not enjoying whatever Brando was doing. As opposed to those other films that Thor referenced, I had such high expectations for the film, based on the involvement of Brando, Nicholson and Penn. I received a few emails from listeners who also had major issues with the film. As you will hear in the episode, I do praise some parts of the score. I am glad you're enjoying it! I regret to inform you th
  4. It only took 40 films and about 15 years!!! Very few become successful in a shorter time.
  5. You should go back and learn about the scores you don't know. In this journey, it has helped me understand the evolution as a composer and how JW worked to find his voice. To be honest, I might have done the same thing you are doing if someone else was doing this podcast, but I would have obeyed the host and started at the beginning!
  6. Hi, everyone! I know many of you have been awaiting the arrival of the "Golden Age" of my podcast, and that moment has finally arrived! The "Jaws" episode (Episode 41) premiered earlier today. Listen to the episode here. I'm joined by music teacher Jeff Owens, who provided some very wonderful insight into why the main theme is so scary and intense. Though we don't go through every minute of the score, we do talk about some highlights that make this a masterclass in film scoring. I have a bigger appreciation for this score, which I did not think was possible. Enjoy!
  7. Thanks for recommending Yavar for the Images episode. He had a lot of wonderful insights! About 80 more to go!
  8. That would be a big ambition, and if more than one person is involved, it might evolve into virtual boxing matches. Just look at how hard it is to officially say how long John Williams served in the Air Force.
  9. So, to get this thread back on topic, I want to thank @airmanjerm for the clarifications. And thanks to all those who are new to the podcast. I urge you to start at the beginning and catch up with us on this journey. You will hear music you've never heard before and learn new things about John Williams!
  10. The newest episode of my podcast features the score to 1971's "Jane Eyre," the third and final time Delbert Mann and John Williams would work together. This episode features fellow JWFan member @Yavar Moradi as he talks about why he counts "Jane Eyre" as his favorite John Williams score. We also have a good discussion about whether to count the main theme as a love theme or not, and the music it inspired about 30 years later. Hope you enjoy!
  11. I just finished watching this film for an upcoming episode of my podcast. It is not a great film by any means, but that six minutes of music near the end that everyone has talked about is worth sitting through the movie. I am co-hosting the episode with Townerfan's brother Gianmaria. We are going to have a fun discussion. And thanks Mauricio for the background info on the film!
  12. Just before I had read that comment a few days ago, I had finished watching "Valley of the Dolls" and was very excited to record that episode. After reading your comment, my feelings about doing that episode -- and the podcast -- hadn't changed. Your apology is accepted but I just wanted you to know that I didn't allow it to affect me negatively -- unlike the way Bernard Herrmann's comments about Symphony No. 1 affected John Williams.
  13. I don't mind if you don't like the podcast, but please let me know what errors you have heard. I might be using a source of information that is not as reliable as it seems, or I might have connected dots that were not meant to be connected. It might help improve the show, and you might like what you hear. And, if you are a "hardcore Williams researcher," perhaps you can guide me to information in places I do not know. You can reply here or send me an email to jeffswim@aol.com.
  14. You bring up an interesting point. I wasn't mentioning the next film because I wanted to "tease" the next episode. But, I can start doing that in upcoming episodes. Thanks for listening! "A Guide for the Married Man" posted today. Next week is "Fitzwilly." Better late than never.
  15. Yes, they are all the same. It's disappointing, but understandable from a thematic standpoint. I think each of the three main title performances in the original trilogy signified the mood of Luke's adventures -- and the film in general -- but with the prequel trilogy did not have Luke in them, so no point in making many changes to the performance. It's also sad that the new trilogy didn't try to do different things to "Force Awakens" and "Last Jedi," since Luke appeared in both of them. Welcome to the forum @TheMagicFlute, and I hope you enjoy your discovery of the music of John Wi
  16. I suppose my post was specifically to answer WilliamsGirl's repeated questions about JW's involvement in the score writing. There are some musical moments that are not on the original soundtrack, but I don't think they are so "OMG" that they need to appear on a limited-edition CD.
  17. I have just watched this film in preparation for an upcoming episode of my podcast and after just a bit of research, all the music that is not part of the five original songs was composed by John Williams. He wrote some fairly good cues, some of which uses Previn's song melodies but is flavored with the Williams touch. The fact that he didn't really have to lean heavily on song melodies for his underscore might have helped him nab his first Oscar nomination. The episode highlighting "Valley of the Dolls" on my podcast will be ready for listening on April 17.
  18. Some of those very early scores have so little music in them. Two of them could be combined for one album, I suppose. I would like to see a "Daddy-O/Because They're Young" album, since they are both about young adults.
  19. February 8 is always a great day. No matter what I am doing, I make a point to settle in and listen to lots of John Williams music. Now that I am doing a podcast devoted to John Williams I listen to it more than ever. I even released the next episode of my podcast today to commemorate his birthday. It's devoted to the 1964 film "The Killers." http://thebatonpodcast.podbean.com
  20. I mentioned only theatrical films. I knew there were some songs written for TV but I couldn't find recordings of a lot of them, or note the shows for which they were written. You might be right about that album release. I recall stumbling upon a website listing of the album that had different track names and had the date as 1963 for the album. I can't find that website now. Thanks for the clarification.
  21. Two songs deserve to be on this list, for completion's sake: "None But the Brave" and "John Goldfarb, Please Come Home!" are the first two songs written from themes composed by John Williams. In the case of "None But the Brave," it was not in the finished film but made the album release as a filler. Not sure if JW had input in the song's creation. As for "John Goldfarb," it is the first official song written by John Williams to be featured in a theatrical film. It's catchy, and kitschy, as sung by Shirley MacLaine. I will be discussing the songs and scores o
  22. I agree that there has been too much of a break between episodes. I have enjoyed their discussions. In the meantime, take a listen to my podcast that journeys through John Williams' career, one film at a time. Each episode comes out each Wednesday, so no severe withdrawals. Go to this link to check out the episodes. It's all John Williams, all the time!!!
  23. Thanks! I knew the Jaws comparison was a stretch, hence the disclaimer. My knowledge of JW's work from the early '70s is limited, but I do know the music from Images well and I kind of agree about the melodic similarities. Can't wait for The Eiger Sanction to hear if you are right about that as well.
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