1977

I've been saying this for ages. Well considering all non-essential items are grounded in my country, no CDs ordered from anywhere are able to be delivered.

Depends if they are willing to pay up, Spielberg I'm sure has the means and the clout, but would he be willing to sink millions into a loss leader?

Hi Erik, thanks for replying. I was mainly interested in the La-La Records catch up from mid 2010 (featuring Eraser etc.) as well as any other LLL related shows. I could provide a list but would need to check the archived web pages from back in the day, which would take me a day or two. Can I get back to you on those? Many thanks again.

Did NFN ever have access? I'm unsure if any of their titles involved Sony Music (probably cost-prohibitive).

Really terrible but it is to be expected with all that is taking place right now. Although not ideal, perhaps a CD-R MOD model would alleviate the issue with pressing plants (though not licencing, clearances, transfers and all that other stuff). I think those are the ones that involve a film studio and/or production house as well as a record label (such as Far and Away) rather than just a studio (for example, anything from MGM). Just my speculation.

Update 1 April 2020: 4. Sony Music cans licencing La-La Land finds a way around it, but... 5. They might not be able to stay open. This is really sad. If I had the means I would order a bunch of LLL titles right away. After all MV has done for this niche it would be terrible if this really happened.

Ours has lost very nearly one third of it's January 1st 2020 value as at today. Being downgraded to sub-investment grade by Moody's the day we went into lockdown also didn't help.

I think mine are too, very high quality they are.

He can do it all on his home PC, no orchestra needed. Expect this to happen more and more going forward...

Yes they are, fortunately I have at least 20 or so and add to them whenever I find a cheap multi-disc set. I also have a stash of brand new Super Jewel Cases (all three sizes) in case I get a used CD or DVD that uses those variants and needs a refurb

That's why I have been hoarding those, by picking up cheap used CDs that are 3 or 4 (or even 6) disc sets... Fortunately these are all the stronger variants that don't buckle and snap as easily as the ones LLL uses.

What's a CD LOL

I'm fairly late to the game with CSR so have missed all the episodes prior to what's available on their site (cira mid 2010). Does anyone know of anywhere (legal) that I might be able to find older episodes? I've tried using the Wayback Machine including the two old Geocities sites that predate cinematicsound.net but although I am able to view the pages, the actual media files are MIA.

Yes, I've searched everywhere for that comment (FSM, Intrada and here) but cannot find it, the only reason I even remember it is because I referenced you in my post about it shortly after King Rat was announced. Perhaps I imagined it, who knows? It isn't the first time my memory has failed me. The fact that Mainstream releases Intrada's expansions and remasters digitally gives me hope that Sony Music has no further rights to their catalogue, which is a roundabout way of saying there are still two possible Intrada releases that may be Hook.

Is this podcast still available somewhere? The link in the first post is defunct.

That's interesting, and a bit confusing. The back cover only mentions Mainstream: And of course I can't find Yavar's comment about Mainstream purchasing back their catalogue anywhere. *facepalm* Edit: actually, the press release only makes mention of the prior CD release on Sony Legacy, it does not indicate which entity currently has ownership of the title. So there are presumably still four possible chances for Hook to be released, unless another label got access before the door closed (Varese is the only one that I think could have potentially).

At least, that's what I was told by @Yavar Moradi

Mainstream owns King Rat, they purchased their catalogue back from Sony. So Intrada has two SM titles still due, along with LLLs two.

This is a disturbingly prescient post for many reasons that have nothing to do with soundtracks.

https://open.spotify.com/album/1yg6IDL3QZkE9JmjbUUkDB?si=Pe_3Tj9nRmq5Ou4vOm4Fig

This one from FSM user Spinmeister:

From JGouse0498 at the FSM Custom Cover Art thread: So much better. https://www.filmscoremonthly.com/board/posts.cfm?threadID=138846&forumID=1&archive=0&pageID=6&r=693#bottom Probably cost-cutting measures. One of the labels should hold a "create your own cover" competition for a forthcoming release. The winner gets their art used on the release and a free copy of the CD.

@andrewz if I may, I would like to humbly request that you please recreate the album art for Charles Gerhardt's Close Encounters / Star Wars RCA Red Seal album, if you are willing. Here is an example, good quality scans are hard to find: LP: CD: Many thanks!

So at the end of my first day of lockdown, I settled in and listened, for the first time, to La-La Land's Close Encounters (disc one). It is sublime. The sound quality and presentation are outstanding, a far cry from the very brief and rather problematic OST release. To be fair, this score needs room to breathe, and a 40 minute presentation was never going to serve it well. This score should have won Williams the Oscar (as much as I adore Star Wars, the score that introduced me to Williams and film music in 1977 at the age of 5). I very much look forward to listening to the alternates tomorrow. I have to say, though, I still prefer the Charles Gerhardt / NPO presentation and performance of the final 25 odd minutes of the score. The pacing is more deliberate and somehow the score just breathes better when freed from the constraints of conforming to the events happening on screen. The choral work has far more gravitas in the Barnstorming segment (presumably due to the presence of male voices rather than soley female performers) and there are some lovely additional piccolo flourishes in that same piece (I wonder who added those). Lastly, the end credits flow much more naturally on the Gerhardt. It has always seemed to me that Williams was rushing the performance, as if he was late for an appointment, the minute the director credit appears on screen. It comes off as almost comical to me. Even the theme associated with Gillian has a tempo that robs it of it's beauty. Anyway, I'll probably be evicerated for this paragraph, but I stand by my opinion. Thanks to everyone for the suggestions, at a stressful time such as this, with all that is taking place in the world, it is a joy to be able to experience the wonderful music that the Maestro has produced and that has been so lovingly cared for and presented by those that champion this art form. Thank you LLL and Mike Matessino!