Mr. Who

Golden Globe nominees for score:
 
Conclave
Emilia Perez
The Wild Robot
Dune: Part Two
Challengets
The Brutalist

Nice work! The mix is also clear.

Wow amazing release! I’ve listened to the ost countless times and finally we get the full thing! The love theme in this score is one of Mancini’s best!

Quartet Records, in collaboration with Metro-Goldwyn-Mayer, Sony Music and the Henry Mancini Estate, present the premiere release of the original film tracks of Henry Mancini’s Academy Award-nominated, iconic score for the no-less-iconic Blake Edwards film THE PINK PANTHER (1964), celebrating its 60th anniversary.
 
A cornerstone of sophisticated heist comedy and romance, and a classic that began a saga about the clumsiest policeman in history: Inspector Clouseau, brilliantly played by Peter Sellers, who would reprise the role for four more films before his passing. In addition to Sellers, THE PINK PANTHER stars David Niven, Capucine, Robert Wagner and Claudia Cardinale. The film was shot on luxurious locations in Cortina d’Ampezzo, Italy, with some sequences shot in Rome, Paris and Los Angeles.
 
Henry Mancini had previously composed several acclaimed scores for Blake Edwards, including BREAKFAST AT TIFFANY’S, DAYS OF WINE AND ROSES and the TV series PETER GUNN. The theme he created for the animated main titles of THE PINK PANTHER immediately became a classic—one of the most famous pieces in the history of cinema and popular music culture. Mancini went on to write a fantastic catalog of melodies—all refined with his redoubtable good taste—and an exciting underscore that has remained unreleased for sixty years. Together with Johnny Mercer, he wrote another of his great songs, “It Had Better Be Tonight (Meglio Stasera),” which appears on this CD in its original version, performed by Fran Jeffries.
 
This double CD presents in the first disc the actual film score from the original master recordings with the original session at the Samuel Goldwyn Studios in 1963, preserved in mint condition and originally recorded in mono. It also includes some alternate versions and unused music.
 
The second disc contains the remastered album Mancini recorded for RCA with new arrangements of the more commercial tracks.
 
Carefully produced, restored and mastered by Chris Malone, the package includes a 24-page booklet with extensive liner notes by film music writer Jeff Bond.
 
DISC ONE.  The Original Film Score
1. Main Title (Theme From The Pink Panther) 3:04
2. Meanwhile. 5:10
3. Ski For Two 1:53
4. Cortina (Film Version) 2:48
5. More Ski For Two / How Did It Go? 2:39
6. Nasty Little Habits 2:25
7. Dinner Party (Guitar Solo) 2:37
8. She Shall Have Milk 1:38
9. Champagne And Quail (Film Version) 2:38
10. Piano And Strings (Film Version) 2:01
11. The Lonely Princess (Film Version) 3:24
12. Royal Blue (Film Version) 4:05
13. Imbecile! 2:26
14. It Had Better Be Tonight (Meglio Stasera) Vocal: Fran Jeffries 3:52
15. The Village Inn (Film Version) 4:18
16. Oh, Darling 1:56
17. Uncle Charles 2:44
18. Stand Back 1:52
19. The Tiber Twist (Film Version) 3:29
20. It Had Better Be Tonight (Meglio Stasera) Chorus 4:02
21. Something For Sellers (Film Version) 2:01
22. The Safe’s Empty 3:00
23. Shades Of Sennett (Film Version) / End Titles 1:20
 
Bonus Tracks
24. Main Title (Theme From The Pink Panther) Alternate 3:34
25. It Had Better Be Tonight (Meglio Stasera) Alternate 2:05
26. Once Upon A Time… 1:15
27. More Dinner Party (Guitar Solo) 2:51
28. It Had Better Be Tonight (Meglio Stasera) Instrumental 2:05
29. La Marsellaise  0:13
Total Disc Time: 78:03
 
DISC TWO.   The RCA album Recording
1. The Pink Panther Theme 2:39
2. It Had Better Be Tonight (Meglio Stasera) Instrumental 1:47
3. Royal Blue 3:14
4. Champagne And Quail 2:49
5. The Village Inn 2:39
6. The Tiber Twist 2:54
7. It Had Better Be Tonight (Meglio Stasera) Chorus 2:02
8. Cortina 1:58
9. The Lonely Princess 2:31
10. Something For Sellers 2:51
11. Piano And Strings 2:39
12. Shades Of Sennett 1:29
Total Disc Time: 29:33
Total Collection Time: 107:36
 
https://quartetrecords.com/product/the-pink-panther-2-cd/

Shore's scores really don't operate on that level: there's really not any one main theme, no more than the Ring cycle has one.
 
But I get your point: the two closest themes to "main" theme would be the Ring and the Hobbits. It's funny that they're both melodically-altered arpeggios - one minor one major.

Years ago I made a few cover sets for The Godfather Trilogy so I thought I'd post it here if anyone is interested:
 
Click on this link to go to the album with the full res images:
https://www.flickr.com/photos/162181720@N04/albums/72157704770679964/with/44549426470/

I can definitely relate to that. The logos (and their music) was always a brilliant mood setter before the film. Didn't bother to fastforward over them. Orion Pictures, for example, or - here in Scandinavia - the famous Svensk Filmindustri one that adorned many a great VHS (both from Sweden and beyond):
 
 

It occasionally crops up on this forum on particular, because of who the subject composer is. People see JW writing on pen and paper, and then jump to fantastical conclusions about how musicianship has declined because people can't write using pen and paper anymore.
 
If you prefer to write on pen and paper because you "feel closer to the notes", fine. If you prefer notation software, fine. If you prefer a DAW, fine. If you prefer humming to someone who knows how to write music, fine. If a talented composer really wants to write good music, they're going to find a way to do it.
 
/rant

Amazing release! One of Barry’s very best Bond scores alongside OHMSS and TMWTGG in my opinion! After the let down that was the Goldfinger release, this comes as a great surprise!

Available to order: https://lalalandrecords.com/man-with-the-golden-gun-the-50th-anniversary-remastered-expanded-limited-edition-2-cd-set/
 
 
Tracklist:
 

Available to order: https://lalalandrecords.com/moonraker-45th-anniversary-remastered-expanded-limited-edition-2-cd-set/
 
 
 
Tracklist:
 

No he did in fact turn him down but not because of Dune which is the official story. Dunkirk was a very stressful experience and Zimmer didn’t want to do Tenet. Dune being the reason just sounded better. Zimmer even let slip in an interview that they needed a break from each other lol.
 
However, I do also think that the odds of him scoring another Nolan movie are very low, at least within the next 10 years, as Nolan always stays with the new collaborator when he has a new one plus the fact that Zimmer seems very much in sync with Denis Villenueve at the moment.
 
 

I really hope that film reunites Nolan and Zimmer again, though I’m very sceptical. It will probably be Göransson again.

A great lengthy interview just posted on YouTube:
 
 

Well, I will try to make the breakdown.
 
First off all, we have motifs with melodies of original songs, that Powell uses in the score. He is credited as composer in:
 
Real in Rio, that seems to represent liberty and the desire of having said liberty, or simply the idea of flying, plus kinda is used as a love theme for Blu and Jewel in some situations.. (Rio Airport, 0:45 to 0:53)
 
 
And Pretty Bird, Nigel´s Theme (Bagged and missing, 0:26 to 0:37)
 
 
 
 
Then, we have two songs that Powell didn´t composed, but that he quotes in the score two or three times each:
 
Fly Love, that is used kinda as another love theme: Heimlich(0:23 to 0:48)
 
And Funky Monkey (Signal, whole track):
 
 
Now, about Powell´s themes that are only in the score:
 
Blu and Linda theme, used to represent both, and their bond. (all of Morning Routine, exclunding the first 20 seconds):
 
Tulio´s theme, in the beginning of Great Big Momma Bird to 0:13 minute mark(not the official version, the one in the complete recording sessions): 
 
 
We also have a slapstick action theme clearly inspired by Tico Tico no fubá by Carmen Miranda, Powell uses it in chases, chaotic comedy scenes and one a bit serious action scene. (umbrellas of Rio, 2:00 onwards)
 
Toucans theme(Juicy little mango, 1:54-2:02)
 
And there´s another love theme for some reason, it plays with Jade and Blu early in the movie and for Rafael and his wife. (1:36 of Juicy little mango)
 
And then there´s two Gang themes, i think, or it´s a ABC phases situation.
 
This one for all the gang(bagged and missing, start to 0:15, and 0:48 to 0:55)
 
And this that seems like the main one for the humans of the gang.(idiots, start to 0:47)
 
 
and that´s what i got.
 
 
 
 

Saw two fantastic concerts over the last two evenings, both at the Brucknerhaus in Linz, usually just a 75 minute train ride from Vienna, but after the recent flood disaster in Lower Austria, the railway tracks are damaged for several months, and the whole thing turned into a multi-hour complication with many delays. Still, all worth it, because I got to hear brilliant performances of two of my favourite rarely played works.
 

 
First up on Thursday was Anima Eterna Brugge, the original version of Bruckner's 3rd, with a side order of Wagner (very fine Wesendonck-Lieder). This was part of the Brucknerhaus's anniversary cycle of the original versions of all 11 Bruckner symphonies in historically informed interpretations - which mostly means the instruments, I suppose (edit: and of course a lack of vibrato for the strings), and what a difference it makes! Living in Vienna (where the Wiener Horn played by the major orchestras is still just an updated version of the same instrument that was in use in Bruckner's time, and several other instruments similarly mostly retained in their 19th century versions), I suppose an everyday Bruckner performance I get to hear is already semi-historically informed compared to most international orchestras - but this was something else. What a fantastic transparency to the sound of the massive orchestra (the hall sounds really good, too!), and the bigger contrast between different instruments from the same groups only helps to emphasise Bruckner's blocky orchestrations. Excellent interpretation by Pablo Heras-Casado as well - he's already recorded the 4th with the same orchestra (supposedly excellent - I ordered the CD on my train ride home), with more planned. I much prefer the original version of the 3rd to Bruckner's own later version, which is still the one usually performed - this was only the second time I've heard the original version live (first was by Nagano some 15 years ago), and probably one of the best Bruckner concerts I've been to.
 

 
And then on Friday something I've been waiting for for 8 years: Hans Rott's symphony, which I've been gushing about here before (and will never stop doing), paired with Brahm's 2nd piano concerto, in a powerhouse performance by the Bruckner Orchester Linz under its chief conductor Markus Poschner. I've been blown away by this symphony from the first time I've heard it (and without fault every single time I've listened to it), and finally getting to hear it live was an experience on a similar level as a Williams concert. This work should be performed regularly in every major concert hall across the world, and yet it is still a mostly unknown rarity - as Poschner mentioned in a pre-concert talk with the Brucknerhaus's head of programme planning*, he expected that nobody in the audience would have heard it before (not quite correct, at least in the case of me and three of a group of friends I took along, but this being a subscription concert, chances are it was indeed new to the vast majority of the audience).
 
I keep being astounded by this work. As they mentioned in the talk, and as I remember myself from the first time I encountered it, everyone listening to it for the first time will initially be inclined to classify it as a major Mahler ripoff - until they learn that Rott wrote it from 1878 to 1880, almost a decade before Mahler composed his first symphony (and, who was a friend and colleague of Rott, would go on to take ideas from it for years). But because Rott was disliked and hindered me much of Vienna's music establishment (famously Brahms), and had a mental breakdown soon after finishing the symphony, leading to him being committed to a mental hospital, where he would die less than 4 years later without having composed another major work, the symphony was forgotten (except by Mahler Wolf) and wasn't performed until 1989 - more than 100 years after its conception. Imagine what it must have sounded like to a contemporary audience, who had not yet heard a single symphonic note by Mahler!
 
And even knowing Mahler, it's still and utterly astounding work. Where late Beethoven, Bruckner, Mahler, and their successors would frequently push the symphony form to 11, Rott doesn't stop there - he takes things to 12, again and again. Impossible to think what more he could have accomplished after this work, written when he was just 20! Maybe there's a connection between his mental illness and him pouring everything into this towering, visionary symphony, and had he been more mentally stable, he couldn't have gotten there at 20. But even if he had only reached the same point at 50 and then continued for another 20 or 30 years…
 
Hearing it live also shows the demands the work places on an the performers. Owing to his age, Rott couldn't have yet been so experienced to write perfectly refined orchestrations for such a massive work, and of course he never got a chance to hear it live and make corrections later on. There are fffffs and ppppps in the score that Poschner figures may be impossible to perform, and in some cases they had to make slight modifications simply to survive. Nevertheless, the result was a brilliant performance, rewarded with thunderous applause; it was recorded for a radio broadcast in October, so I guess there's a chance this may be released on CD at some point in the future. I hope it does - I'd buy it and add it to my other three recordings of the work.
 

 
*) …and since the head of programme planning happens to be our choir director, we got a nice tour of the house before the concert as a bonus.

I’ve seen this movie in the cinema and it was horribly bad, as was the score. Don’t waste your time with this haha! It’s forgotten fir a reason.

https://youtube.com/playlist?list=PLl3EOgDGz0DNjr7_l6Nnqi7PPkhPfULmZ&si=wnDJMfR8uuuYNfw6
 
The playlist above is from a channel i discovered these days, it not only has suites of scores from Powell, but also scenes from movies he worked on without any sound other than the OST. The owner made videos like this for Migration, Rio, and is currently doing videos like this for Bolt, it makes it much more easy to understand the themes, so i think that you will like it.
 

I managed to pick it up just in time. It's ridiculous these things aren't in print more regularly. Instead of, you know... STar Trek...

New Desplat score album coming tomorrow for the movie "The Piano Lesson"
 

 
01 - The Piano Lesson (03:53)
02 - The Truck (02:53)
03 - Selling Watermelons (02:27)
04 - Pittsburgh (01:51)
05 - Berniece Story (02:29)
06 - The Plantation (05:30)
07 - Avery's Blessing (03:24)
08 - Boy Willie (03:56)
09 - Piano Reverie (06:15)
10 - The Piano Story (01:41)
11 - Black and White Keys (01:59)
12 - Ghost (02:55)
13 - Help Me (07:37)
14 - Lymon Flirts (01:54)
15 - Ancestors (02:32)
16 - Fight Over Piano (03:43)
 
https://www.qobuz.com/nz-en/album/the-piano-lesson-soundtrack-from-the-netflix-film-alexandre-desplat/a1uhxvkmmg4rc

Yeah Dead Reckoning sounds really good and was clearly a title that referred to the overarching story. The Final Reckoning sounds a bit like a tagline to me so if they had to change it they should probably have gone with Mission: Impossible - Final Reckoning at least IMO.
 
But the trailer looks great and I can't wait to see it! Loved MI7 so hope they didn't do any course correct after too few people saw MI7 as I want the original vision for the final move to be what is released.

Yeah Dead Reckoning sounds really good and was clearly a title that referred to the overarching story. The Final Reckoning sounds a bit like a tagline to me so if they had to change it they should probably have gone with Mission: Impossible - Final Reckoning at least IMO.
 
But the trailer looks great and I can't wait to see it! Loved MI7 so hope they didn't do any course correct after too few people saw MI7 as I want the original vision for the final move to be what is released.

Yeah they had a great movie but wasted it's potential by sticking to that dumb release date. It's a real shame because the movie was great.

They couldn't have predicted how big Barbenheimer would be, but they surely knew they were opening their mega-budget IMAX-dependent blockbuster one week before a new Christopher Nolan movie. So not only the Barbenheimer phenomenon stole all their thunder but also Nolan (who has a symbiotic relationship with IMAX) stole their IMAX screens.
 
Meanwhile, movie theaters withered in the borderline empty months of September, October, etc., without a single blockbuster. Postponing M: I 7 to these months would've been beneficial to both Paramount and the theaters. But they stuck with their guns and DR1 was utterly forgotten once Barbenheimer was released.

Yeah Dead Reckoning sounds really good and was clearly a title that referred to the overarching story. The Final Reckoning sounds a bit like a tagline to me so if they had to change it they should probably have gone with Mission: Impossible - Final Reckoning at least IMO.
 
But the trailer looks great and I can't wait to see it! Loved MI7 so hope they didn't do any course correct after too few people saw MI7 as I want the original vision for the final move to be what is released.