Pieter Boelen

It seems like the total antithesis to Williams' approach to thematic development when writing a score proper.
 
He's very careful to develop themes gradually as the score moves along, rather than being too overt at the beginning. Yet on his soundtracks he regularly sticks his concert suites, the fully fleshed out rendition of his main theme, as track 1!
 
An approach like Rey's Theme in TFA's OST makes much more sense (barring the bizarre placement of her concert suite), as it develops across the album in mostly chronological order and its most developed, mature appearance is in the end credits. This seems to be a new approach from Williams, hopefully it carries through on TLJ.

For anyone who might be interested: Adywan's Empire Revisited will finally be released today at 6PM GMT after 9 years of work!

Maybe he's the one that keeps leaking them! xD

You guys don't get it, if we line up the 3 threads and hold them towards the sun, they will spell out the IP address for the Azkaban sessions!

It makes perfect sense for very short cues, too. 
 
For scores with lots of very short unreleased cues (I believe Munich and Azkaban may be offenders here), combined tracks make perfect sense if they are musically compatible.

Oh god no, definitely don't change them back!  The edits within those two tracks on the 1997 OST are very clunky!  The new versions sound significantly better; The listening experience has been improved!  

Also, these aren't cues that were ever meant to be connected!  The two cues inside The Stegosauraus track are actually separated by a bunch of scenes that aren't scored at all.  If MM was starting from scratch, they certainly would have each been in their own track!   He only had to keep them in the same track here, because the 1997 OST put them in the same track.

Well that is interesting. Was he actually going to suggest a project to him or just meet for some other reason. I remember Spielberg telling in an interview how he met Herrmann during the recording sessions of the Taxi Driver the day before he passed away.
 
I thought it was very funny when Spielberg admitted to being a huge fan and Herrmann in his true cantakerous style quipped: "Then why do you always use John Williams for your films?"  

I disagree with almost everyone about almost everything in this thread, but we DO agree on one thing -- I, too, severely dislike dialogue on soundtrack albums.

For TFA, I would have liked to see Follow Me and The Falcon combined on the OST.

I want to listen to the music. When I want to hear the narration I watch the movie. I don't want the music to be forcedly connected to the text even on album.
 
Luckily many of those decisions are no problem any more, because of expansions.

The jump from Children in Chains to Short Round Escapes is very jarring, not least because it skips ahead about fifteen minutes of the film in one track. The score really needs to catch its breath here before it heads back into all the action cues, which are non-stop until the finale!
 
Even one of Moloram's Speech, The Evil Potion or Willy in the Fryer would've helped a lot here.
 
The Rope Bridge is important for the same reason; its build up is essential for Broken Bridge to be as effective as it is. Sadly they omitted that too.

I feel that a commercial release of a complete score should not just be a dump of raw materials in one place from which everyone should/can cobble up their own preferred version but a finished and well thought out and rounded experience of its own be the tracks separated or combined. It can be comprehensive but not detrimental to the flow and intentions of the music and the composer. What I am getting at is that you shouldn't have to tinker with it.
 
Like the JP Collection for example. Bless you Mike Matessino!  

The show doesn't hit its stride until the Dominion debuts and the Defiant arrives. Season 3 is when it starts to get good. 

The music offers a welcome diversion from all the hustle and bustle.
The alternative is not listening to music and instead getting to listen to all the random stuff the other people are chatting about.
Indeed I couldn't give the music all my attention in those circumstances, which is why I'll pick some tracks I feel like listening to and just enjoy them.
Often I'll kind of doze off in the middle. Suits me just fine.

The music offers a welcome diversion from all the hustle and bustle.
The alternative is not listening to music and instead getting to listen to all the random stuff the other people are chatting about.
Indeed I couldn't give the music all my attention in those circumstances, which is why I'll pick some tracks I feel like listening to and just enjoy them.
Often I'll kind of doze off in the middle. Suits me just fine.

The music offers a welcome diversion from all the hustle and bustle.
The alternative is not listening to music and instead getting to listen to all the random stuff the other people are chatting about.
Indeed I couldn't give the music all my attention in those circumstances, which is why I'll pick some tracks I feel like listening to and just enjoy them.
Often I'll kind of doze off in the middle. Suits me just fine.

Oh, yes, he is! Otherwise, how are you ever going to get to know your god?
I question my god every single day.
Blind faith is never an option.

I usually listen to music on-the-go, so I often will just choose whichever cue I fancy or feel like on that particular day, often from wildly different films, shows and genre's. It's like creating a playlist every time out. Other times it really is about trying to get through The Two Towers, or The Force Awakens as far as I can go before I have a change in mood or just want excitement after ten minutes of underscore. I don't think this has any bearing on how I watch the films and shows the music comes from. If I invest time to watch a film all the way through, that's what I'll do.
 
Couldn't you derive a particular mood or an emotional response from a cue that resonates you that has nothing to do with the film's narrative at all? 
 

Good album to start with too!
Even though I don't often listen to full albums, that's one I've done it with several times.

I like picking and choosing what tracks to listen to, especially when I'm in the train.
Get a bunch of high-energy stuff together, so it can be heard over all the noise.
Plus, it can save a lot of time.
 
That being said, I should listen to full albums more often than I do.
I'll admit that for sure.

What bothers me is the prevailing attitude that only the C&C matters and the composer's original album was a mistake that should be thrown to the dustbin of history. It just reeks of disrespect to the composer's intentions.
 
Of course I'm not keen on Thor's opposite-end extremism either.
 
Then there's the other weird practice where scores like Batman Forever get an expanded release, but the composer is still allowed to axe bits from the C&C program, while his OST program is also on the second disc. Make up your minds!

Incident At Isla Nublar OST > (Film Version)

I also realized that an expanded set of the Maestro's scores to the first three Harry Potter films is another possibility, considering the Live to Projection concerts happening (as that was one factor that led to the Jurassic Park set).

I'm glad this thread got bumped, because I've been meaning to do so myself recently!

Mostly just to say, that I freaking love this release sooooooooo much!
 
We've been so blessed in the last decade to get a steady stream of expanded versions of whatever our favorite scores are from the 70s-90s on a regular basis, month after month after month.  Often, one becomes a favorite for a while, then a new one comes out, and that one gets the most listens for a while, etc.

But this one is different.  I've continuously listen to this REGULARLY since it came out, which was 8 MONTHS ago now!  I don't think there's been a single week since it came out that I didn't listen to either JP or TLW or both all the way through.  This music is all so amazing, especially The Lost World, no matter how many times I listen, I never get sick of it at all.
 
This could very well be my favorite film score release of all time!

I didn't find much in the sessions that wasn't properly on the 66-minute album - deleted them, in fact. Now, if they next do 'Hidalgo', that's a mammoth score with loads of great music missing!