Smeltington

Thank you!! Maybe they would have said so, but they didn't make it very clear about the interpolations of "The Morning After". I guess we have to assume those three bonus tracks were all Williams until we learn otherwise. I'm also curious what he conducted, which I guess would include Love Is a Many Splendored Thing, given the studio sounds at the beginning of the previous release.

What info do we have about the composer credits for this score? It seems less straightforward than most Williams scores. The booklet mentions that Barber Shoppe and Hold Your Breath both contain the tune of "The Morning After". Are there any other score tracks that cannot be credited to Williams alone? The bonus tracks all seem to have straightforward writing credits, since they're all based on songs that were not written by Williams, except for "To Love", "New Year’s Party No. 1", and "New Year’s Party No. 2". Jay said Williams wrote these, though I'm still interested to know if we have a source for that info. And finally, do we know if Williams arranged any of the bonus tracks that he did not compose?

1: Suicide Squad 2: The Suicide Squad 3: Rise of the Suicide Squad 4: The Rise of the Suicide Squad 5: The Rise of the Planet of the Suicide Squad

That would be amazing to hear John Williams music at Red Rocks!

That would be fantastic. Agreed that Azkaban needs to be performed more. It was one of the best LTPs ever!

In the film score community, that's true. I also feel like the prequel music is at risk for being considered a lesser part of Williams' legacy outside of our community due to being attached to films that were so reviled.

Yeah I'd say Across the Stars is pretty well liked and remembered by Star Wars fans. Although it's fair to say some people on this board underrate the full Attack of the Clones score. And you're right that a lot of great material from the prequels is in danger of being overlooked compared to the OT due to the quality of the films.

I still question the extent that being a hipster is still a thing. It feels like they've been subsumed into our culture now. Well then someone else jerked Hollywood's donkey stick, and was handsomely rewarded. Who's the hipster now??

I did it! I also thought about voting for Soul though. And Hateful Eight was a good score (for a movie I H8ted). It seems to have some attempted hipster flourishes, like the scene where Emma Stone flaunts her 80s knowledge by having a favorite cheesy 80s song. Low art as high art blah blah blah. I don't know if real life hipsters give a shit or not though. And the movie is yet another case of Hollywood jerking its own donkey stick (even the Artist took this path to victory), trying to reaffirm its own artistic merits despite its middle-of-the-road mainstream stranglehold on pop culture, so it doesn't have a ton of credibility/authenticity IMO, including the idea of gorgeous movie stars who don't really pass for scrappy, struggling artists. But despite the lack of hipster cred, the movie was still pretty good, haha. Don't worry, there'll be a next time!

It's going well so far! But it's been a slow process to try and like classical as much as film scores. I think it's going to take years of training my brain. I do have the feeling it's going to be more and more rewarding as I get older, and I look forward to that.

Jay, what you're saying makes a lot of sense in terms of discussion on this board. When there's not much coming out, there's a lot less activity here. This is also true when there's not much JW news. My interest in film scores doesn't depend on new expansions or even new OSTs, though. Williams' output, along with some of my favorite scores by other composers, is always fascinating because it's so complex, there's so much to discover with every new listen. It's accessible on the surface, yet it has untold depths. On top of that, I'll never fully get to know every release I own, because it adds up to so many hours of music. So that plus the complexity of the music will keep me listening to film scores probably for the rest of my life. The only thing I can think of that might slow me down is if I ever learn to appreciate classical music enough to shift my focus, although I'm sure I'll still love JW no matter what.

I enjoy the Crystal Skull score, but it was unusually uninspired for Williams, including the new themes. I think the odds are he could come up with better ones this time around, especially if the film gives him more to work with. He's written a lot of themes since KotCS that were better than the ones in that film. Although somehow I doubt he'll write as good a McGuffin theme as he did for the ark or the grail.

There's no such thing!!

I enjoyed reading over the blog too, @Datameister. And it just so happens I use Blender as well

I'm convinced the film will be a wash in any case, but I just hope we get a nice album out of it. The most exciting thing about this is the idea of Williams working with a new director.

In a normal year, he certainly would, so there's probably a very good chance. They don't announce Boston and Tanglewood at the same time though. I also saw today that the Hollywood Bowl is reopening, and announcing their season on May 11, so maybe we'll get some good news there.

Daniel Radcliffe as Smeltington, the magic man.

It does sound like something he would do.

Are Steve and Walter gonna get it on?

I didn't remember to try to remember about my clothes. I only remembered to try to remember about the shampoo.

I searched but only found this.

LOL I forgot Switch was the main character in this movie.

YES!!! Finally!! I knew this day would come!

One advantage of Tidal that I've noticed is it seems to have more thorough credits for many tracks.

I'm happy for them! And proud that they turned out to be JWFans. They can stand tall as they walk down the street.