1977

As I said, I decided to not include scores that only present cursory usage of Williams material. Otherwise by rights I should have included Supergirl for that quote of the Superman theme in "Superman Poster". Shadows of the Empire is not a film score. I do love McNeely's music though.

I apologise once again Jay, I will include JW and it's sequel. Please don't shoot me @Thor

Ok I apologise Jay, I will remove HP2 shortly. Edit: HP2 now removed as a voting option.

I have also ignored scores for other media, such as video games, television and park rides. If you feel so inclined (or are bored enough) feel free to rank them in your post. If you feel I have omitted something unfairly, or included something erroneously, please do let me know.

^ It's a terrific score!

There is a DVD extended cut too, although it has visible quality differences between the theatrical and the extended scenes (or so I have heard).

I kept my OST and my Japanese edition and my Debney re-recording and my Rhino and my Blue Box and I have the LLL. If I had decided to sell them off it wouldn't have helped anyway as I have no way to recoup the financial outlay. I'd basically have to give them away.

Well financial considerations for one. Not everyone can afford to rebuy everything just because it's better, incrementally or otherwise.

Reminds me I still need to pick up the HD-DVD.

But we can still have appreciation for imperfect things

Warning: unpopular opinion incoming As good as the WW score is, I've always felt the film needed a more "primitive" soundscape, with more emphasis on ethnic instrumentation/percussion and less orchestral bombast (although I generally champion the latter due to my aesthetic preferences). This is one film which I feel was tailor-made for a Media Ventures type approach.

It's also different when you've grown up in the vinyl and cassette era with it's compressed, trebley (is that a word?) sound and assortment of snap, crackle and pop / tape hiss. Just being able to listen to S: TM OST without those anomalies was amazing back in the day. It's something that only people that grew up with analogue pan-and-scan broadcasts and VHS/Betamax rentals viewed in glorious mono on a convex CRT TV could appreciate.

It's a pity we never got any other Williams albums other than the three under discussion. I can only dream about Jaws/Jaws 2 'fer, Superman or E.T. renditions by Gerhardt.

I'm a huge fan of Gerhardt's CE3K suite, which I actually prefer to the OST/score renditions, mainly due to tempo and the choral parts. I've also noticed that there are a number of little extra flourishes (if that's the correct term) that do not appear on the score tracks (for example, extra piccolo flourishes during the opening parts of Barnstorming) and was wondering whether these were added by Gerhardt or if perhaps they were suggested by Williams - after all we know from the liner notes that Gerhardt consulted Wiiliams about including Here They Come as part of the SW suite. Anyone know?

That's actually one of my favourite things (apologies Julie Andrews) about the USO/Kojian recording.

Unfortunately combined with dialogue and sound effects, and including the requisite film edits and volume fluctuations.

Indeed, that's a great question.

I'd rather they just forget about it.

I seem to remember owning this on Laserdisc and DVD but never watching it... But any isolated scores are welcome.

Are you going to "SHOW US THE HOOK!"

Would the labels consider MOD CD-Rs to circumvent the problem of overloaded CD production plants (and would they be allowed to)?

I very much doubt I'll ever watch a movie in a public cinema again as I'm not really interested in the kinds of movies that are being made these days (I may make an exception for JW3 but only if it gets incredible reviews). My wife also hates going to the cinema for hygiene reasons (and has for a long time, way before this pandemic started) so that plays into it as well. Plus the benefits of home watching outweigh the theatrical experience (provided one has the tech). In TRoS I had one of those "and this is what is going to happen next" guys two seats away from me, explaining everything happening onscreen to his pre-teen son *face palm* I would enjoy the drive in experience but only for older films. Hopefully that will become a thing again.

Thanks Erik, much appreciated! Your show is the best, wish I'd discovered it sooner.

@Erik Woods Hi, some of the shows I'm interested in (I don't mind 96kHz RA if that is all that is available): https://web.archive.org/web/20091021123948/http://geocities.com/cinematicsound/playlists/mar_31_09.html https://web.archive.org/web/20091021183328/http://geocities.com/cinematicsound/playlists/dec_23_08.html Also this one: LA LA LAND RECORDS RECENT RELEASES PLAY ▶ 1 2 3 To say thank you to a label that has supported Cinematic Sound since its inception we have decided to dedicate an entire three hour program to some of La La Land Records most recent CD releases. One of the biggest surprises of the year was La La Land’s announcement of the complete release of David Arnold’s 1996 masterpiece, INDEPENDENCE DAY. We will be featuring over 40 minutes of music from La La Land Records’ fantastic two CD set as well as music from DRAGONSLAYER (Alex North), THE FUGITIVE (James Newton Howard), THE POSEIDON ADVENTURE (John Williams). SPEECHLESS (Marc Shaiman), DIRTY ROTTEN SCOUNDRELS (Miles Goodman) and two scores by Alan Silvestri - DUTCH and ERASER. PLAYLIST PART I • SPEED 2 (Mancina) 0:00 • INDEPENDENCE DAY SUITE #1 (Arnold) 6:16 • INDEPENDENCE DAY SUITE #2 (Arnolld) 29:01 • DRAGONSLAYER (North) 47:54 PART II • SPEECHLESS (Shaiman) 0:00 • DUTCH (Silvestri) 18:41 • DIRTY ROTTEN SCOUNDRELS (Goodman) 34:10 PART III • THE FUGITIVE (Howard) 0:00 • ERASER (Silvestri) 20:54 • THE POSEIDON ADVENTURE (Williams) 40:36

If only.