Bayesian

No. They halted sales because there were issues with disc 1 and 3 and replacement discs need to be made. It all went down quickly last night and it looks like the error was music that wasn’t supposed to be released, so it was probably easiest to just remove it from the site before any more orders went through.

Meh
 

No.
 
 
He's interpolated plenty of other's compositions into his underscore, such as "The Morning After" in The Poseidon Adventure, "When You Wish Upon A Star" in CE3K, a bunch of stuff in "1941", "The Quiet Man" in ET, "Smokes Gets In Your Eyes" and "Garry Owen" in Always, "Der Rosenkavalier Suite, Op. 59" in A.I., etc.
 
The amount of times he's done new arrangements for source music cues is too massive of a list to put together easily, but some notable ones that also sort of function as underscore are "Have Yourself a Merry Little Christmas" in Home Alone, "I Only Have Eyes For You" in A.I., "The Battle Cry of Freedom" in Lincoln, etc

I'm perfectly ok with no Hook, on the condition it's actually JP3, HP4 or Hook. 

My turn! Ridiculously long post ahead!
 
Ramin Djawadi – I’ve never understood what the big deal is. Catchy themes for GAME OF THRONES and WESTWORLD etc., and he deserves credit for being part of the team that launched the whole MCU series with IRON MAN, but I’ve never found much to latch on to, musically.
 
Nick Glennie-Smith – such a stalwart in the Zimmer camp, and associated with many of my favourites by Zimmer. I usually love his stuff. He’s the main creative force behind THE ROCK, one of my favourite soundtracks of all time. WE WERE SOLDIERS is also nice. Something completely different - but entertaining - for HOME ALONE 3.
 
Jim Dooley – probably the one I know the least. Some good patriotic stuff on THE LAST SHIP.
 
Steve Jablonsky – when he’s on, he’s really good. TRANSFORMERS is excellent. PAIN & GAIN is a bonafide masterpiece. THE ISLAND is great. ENDER’S GAME has a few nice passages. The horror stuff, I could give or take.
 
Christopher Willis – weird to think that he has an RC connection, because his two most famous scores, DAVID COPPERFIELD and THE DEATH OF STALIN both draw heavily on Shostakovich. But goes to show the different talents and styles that come out of the company.
 
Matthew Margeson – absolutely adore his EDDIE THE EAGLE, which was one of my top favourites that year (very “Days of Thunder”). MISS PEREGRINE was OK, but other than those, he hasn’t made much of an impression on me.
 
Klaus Badelt – always been a fan. Mostly because of THE TIME MACHINE, but also excellent efforts like K19, 30 COULEUR and especially BEAT THE DRUM. PIRATES, I could give or take. As others have said, Zimmer’s stuff is better. It’s been a while since he did high profile stuff.
 
Jacob Shea – he’s one of the new Bleeding Fingers guys, isn’t he? I’ve sampled some of those nature documentaries, but they didn’t do anything for me.
 
Andrew Kawczynski – made his first mark on me with his funky CHAPPIE stuff, but very little since. I tried to give IN FULL BLOOM a shot, but it was only so-so. I want to hear more trip hop, break beats and that kind of thing from him.
 
Harry Gregson-Williams – I used to really dislike HGW back in the day, because he wasn’t overt and thematic enough, but have come to appreciate him more in later years. He tends to have sophisticated things going on under the surface. His masterpiece is still  KINGDOM OF HEAVEN, but also enjoy THE MARTIAN, the NARNIA movie and obviously CHICKEN RUN. I rediscovered SMELLA’S SENSE OF SNOW recently, after disliking it in the 90s.
 
Rupert Gregson-Williams – HGW’s younger brother took a while for me to discover and appreciate. It was only with the hilariously entertaining POSTMAN PAT: THE MOVIE in 2014 that I stood up and took notice. Also enjoyed HACKSAW RIDGE, although I’m curious about Debney’s rejected effort.
 
Blake Neely – never been able to get him, most recently exemplified by the noisefest that was GREYHOUND (film was OK, the soundscape was too dense). People rave about THE FLIGHT ATTENDANT, but that didn’t do much for me either.
 
Heitor Pereira – always seemed like the odd one in the group. Had his niche or specialty surrounding Hispanic flavours and guitars, so I never explored him much. Seemed a bit like a one-trick pony. He seems pretty good at putting himself out there, because he keeps popping up in documentaries and whatnot.
 
Benjamin Wallfisch – one of my absolute favourites of his generation. He blew me away with a string of gorgeous symphonic scores (SUMMER IN FEBRUARY, BHOPAL: A PRAYER FOR RAIN, DESERT DANCER and partly BITTER HARVEST). Loved the old school funk in KING OF THIEVES. And then he shows amazing Vangelis/synth chops in BR2049. Definitely top 3 among the RC people at the present time.
 
Tom Holkenborg (Junkie XL) – I’ve been a big fan ever since his remix of Elvis’ “A Little Less Conversation” in 2004. Conservative film scores fans like to rag on him, but that just makes me love him even more. Adore FURY ROAD and think some of the big blockbuster action scores are fine (ALITA, for example), but where he’s really shown excellence in film music is in more indie or lowkey affairs, like BRIMSTONE, DISTANCE BETWEEN DREAMS and WHITE LINES. In the first, he gets to show off his orchestral chops, in the latter beautiful synth/EDM elements that he already knows well.
 
Mark Mancina – not really someone who “came out of” MV/RC. He’s been a legendary film composer for decades, and also a successful producer for the likes of Emerson, Lake and Palmer and Yes. Favourites include SPEED, TWISTER, MOANA, TARZAN and the very underrated RETURN TO PARADISE.
 
John Powell – yes, it’s difficult not to vote for him. He is the best of the bunch. But for me, it’s not so much because of his animated efforts, good as some of those are, but rather 90s live action stuff like FACE/OFF or the wonderful ENDURANCE. Singlehandedly redefined action film music with his first BOURNE score; something even jedi master Zimmer had to take into consideration in the aftermath.
 
Trevor Rabin – as with Mancina, a veteran who never really came out of MV/RC. More known as a latter-day Yes frontman, really. Not everything he’s done has been equally good, but when he’s been on, he’s been really good. I interviewed him two years ago (he put me on the guest list of the Yes concert that same evening too!), and in this conversation, we cover what I consider his highlights.
 
Geoff Zanelli – not one who’s been on my radar very often, but I always found it amusing how his HITMAN is one of the foremost examples of how influential the BOURNE scores were in the mid 2000s. He did YOU SHOULD NEVER HAVE LEFT last year, a film I really liked. His score was effective in it.
 
Lorne Balfe – like Junkie, he gets a lot of bad rep from certain fans, but I don’t care. While I agree that there are certain works of his that feel interchangeable with almost anything else, he can also deliver really great stuff when he’s inspired. His DARK MATERIALS concept albums are amazing, and his bits on AD ASTRA ain’t bad. Some good things in that ol’ BIBLE series from the early 2010s. And he certainly added to the visceral effect of Bay’s excellent 13 HOURS. Other favs include 12 STRONG, and – totally out of the blue – his lowkey score for Sean Baker’s brilliant “art” film THE FLORIDA PROJECT. Don’t judge a book by its cover, there’s more to Balfe than people give him credit for!
 
Henry Jackman – an interesting case. He can do trip hop and various EDM stuff easily, but he also has a very classical background. Zimmer has often said he wants to see the latter side of him more, and I agree. But I’d like to see and hear both! PUSS IN BOOTS remains the favourite to this day.
 
Marc Streitenfeld – how odd it was to see this relatively unknown suddenly become Ridley Scott’s composer of choice. And I have to admit I didn’t hear that much of note at first. But as time has gone by, I’ve noticed quite a few nice little ideas in his music. I will always be an avid PROMETHEUS defender untill the day I die, and although HGW has the upfront role with the “Life” theme, Streitenfeld created a wonderful, bleak, haunting sonic universe in this film that has grown on me. Also quite like ROBIN HOOD, AMERICAN GANGSTER, THE GREY and his lovely little, intimate affair for A GOOD YEAR.
 
That was the list of the poll. Let me also give shoutouts to:
 
Gavin Greenaway - God, how I love his B.U.G.S. theme from the 90s!
 
Trevor Morris – some good stuff on VIKINGS.
 
Jeff Rona - beautiful score for Scott's WHITE SQUALL, and his muscular symphonic score for THE REGATTA SUITE for the Olympics is highly impressive. Don't confuse him with MV co-founder and rascal Jay Rifkin, which I did a lot back in the day!
 
Atli Örvarsson – what a journey he’s had. From working at RC, doing big blockbusters, to moving to Iceland and doing weird, little, artsy Icelandic films. Love the guy, met him many times and consider him a ‘good acquaintance’. Favourites include COLETTE, THE EAGLE and – post-RC  - REYKJAVIK STORIES.
 
.....oh, and:
 
Hans Zimmer - one of the best film composers who ever lived. All naysayers get my middle finger immediately!

John Powell is clearly going to win this so, like everyone else, looking at the others...
 
Mark Mancina - Twister, the two Speed scores, Moana, Tarzan and Brother Bear for Disney are all pretty great (although I enjoyed Moana less than the other two - Tarzan is really great though). His Planes/Fire & Rescue scores for the Pixar/Disney Cars spin-offs are good fund.
 
Christopher Willis - The Death of Stalin and David Copperfield guy?! Blimey. On the strength of those alone, he's right up there, both are superb. I'd never have picked him for a RC composer though.
 
Matthew Margeson - His score Eddie the Eagle is pretty great and the Kingsman scores he co-wrote with Henry Jackman are enjoyable enough. Miss Peregrine's Home for Peculiar Children (written with Mike Higham) never quite makes the mark it keeps threatening to do so - given that it would have been more intimate than some of the other scores for Burton that Elfman has written of late, this definitely feels like a missed opportunity.
 
Klaus Badelt - Ah, whatever happened to him?! K19 and The Time Machine were both quite popular on release, especially the latter, and his effort for Ned Kelly was a solid drama score but since then... meh... although of his early efforts, his first Pirates of the Caribbean score was a pretty soulless outside the main theme. One of the few occasions where Zimmer taking over definitely improved things.
 
Henry Jackman - Think I like him more than I realised! Big Hero 6 and his two Wreck It Ralph scores were great fun, with some decent themes and Kong: Skull Island was miles better than I expected (off the back of low expectations admittedly). However I remember nothing about his X-Men score...
 
The Gregson-Williamses - I never got much from either of Harry's Narnia scores and remember being amused in the liner notes to the second film where the director effuses about the "memorable themes" from the first film. Can't say I have any recollection. It was the moment I realised how different, say, the Harry Potter franchise, could have been without John Williams to write a theme that everyone remembers. As with many of the others, his animated scores (Sinbad in particular) are mostly enjoyable with Kingdom of Heaven as perhaps his finest dramatic work. Although he did most of his best stuff with John Powell... I seem to remember liking Rupert's work more, but looking back, I can't really think which. Over the Hedge is pretty good (and has some great Ben Folds songs too) and Wonder Woman was better than many of the Marvel scores, although Hans' WW84 feels much more fun.
 
The others I can definitely take or leave. Lorne Balfe (still sounds like the noise an area of grass makes when it throws up) has certainly done some great work on His Dark Materials (although I'd have paid real money for someone like David Arnold or Murray Gold to get the gig) but the good thematic material still feels ill served by the lumpen, simplistic arrangements - Arnold and Gold may have written big, brassy (in every sense) themes, but they have fine orchestrators/arrangers to give those themes more nuance and depth.

Well, just when you think you pretty much know what there is to know about a score, sometimes you still stumble across something new. cc @Jay @Falstaft @Ludwig @crumbs @Datameister
 
So, there was an "album score" of The Empire Strikes Back that appears to have been prepared by 20th Century Fox, I'm guessing as a keepsake for the people who worked on the score. It certainly was never offered for sale, but it does have the proper copyright info. It contains full scores for all the tracks on the album, with one omission: while it does contain 1M2 The Imperial Probe, it's lacking 6M3 This Is Not A Cave, which makes up the last minute or so of the first track. It also includes 1M2 New Start, 1M2 Insert Bar 80, and 1M2 Insert #2 Bar 109, none of which are heard on the album.
 
I assumed this was just a simple mistake, until I recently looked closer and realized that there's indications of cuts not heard in the album track. The cut at 3:23 is going to sound very strange when you're not used to it, but it's exactly what's indicated. There's also a cut to something indicated at 4:13, but it's ambiguous. And I'm just guessing on that insert being used for the ending, but it seems to work well. So, here's my best attempt to reconstruct what was apparently the originally planned first track of the Empire Strikes Back album, 41 years later!
 

https://drive.google.com/file/d/1fjE-uJcsKjVkA7ufh0TGvb_W12wgwv1s/view?usp=sharing

I personally think its uses in Revenge of the Sith are underrated:
 
I love when Williams takes the usually hopeful Force theme and manages it to make it completely dark and disturbing. It fits so well for a lot of Anakin's moments. 

Well, that’s an image that’s not going to unseat itself from my brain anytime soon. Thanks a lot!

New spy movie by Matthew Vaughn will include in its cast: Henry Cavill, Sam Rockwell, Bryce Dallas Howard, Bryan Cranston, Dua Lipa, Samuel L. Jackson, John Cena and Catherine O’Hara. Phew!
 
https://deadline.com/2021/07/henry-cavill-sam-rockwell-dua-lipa-bryan-cranston-samuel-jackson-john-cena-bruce-dallas-howard-new-movie-argylle-1234788568/

Never discount Murphy especially since he is the man behind the most influential piece of score music this millenia (and that includes Hans' Batman wankboxes):
 
And before any dickhead tries to talk about how similar this is to this and that - well, fuck you - this is where it started.

Thanks for letting us know about this—I just ordered a copy. I’d been meaning to read this book, so getting it in a new edition is exciting. 

New edition came out this week
 
https://www.amazon.com/dp/0299332349

We’ve already been discussing this in the UHD thread. We’ve also agreed that ST: TMP is the greatest of all the Star Trek scores.
 
This is what happens when you miss staff meetings.

Until the Star wars Prequels and Sequels are relased

Intrada releases titles every-other-week, unless nothing is ready, then they just take that week off.
 
Roger reveals what their next title will be at any random time on any random day he chooses, often the week prior to its release, usually on Weds-Fri.  He does this reveal on Intrada's own message board, here.

Then, all their releases are always considered "Tuesday" releases, but they actually go live on their website for ordering Monday evenings after they've finished shipping for the day.  That Monday evening update is also when we learn what the tracklist is, as well as can hear samples; The info Roger gives us the week prior is typically just the cover art.
 
For example, in 2021, here is every title they've released, and how long beforehand Roger revealed each one:
 
Jan 12 - Psycho III {revealed 11 days prior on Friday Jan 1} Jan 26 - none  Feb 9 - none Feb 23 - Flight of the Phoenix {revealed 7 days prior on Tuesday Feb 16} Mar 9 - Legal Eagles {revealed 10 days prior on Saturday Feb 27} Mar 23 - Face of a Fugitive {revealed 24 days prior on Saturday Feb 27} Apr 6 - Company Business {revealed 5 days prior on Thursday Apr 1} Apr 20 - none May 4 - Rio Conchos {revealed 5 days prior on Thursday Apr 29} May 18 - Deepstar 6 {revealed 4 days prior on Friday May 14} Jun 1 - Shamus {revealed 6 days prior on Wednesday May 26} Jun 15 - The Public Eye {revealed 5 days prior on Thursday Jun 10} Jun 29 - Call of the Wild {revealed 5 days prior on Thursday Jun 24} Jul 13 -  Jul 27 -  Aug 10 -  Aug 24 -  Sep 7 -  Sep 21 -  Oct 5 -  Oct 19 -  Nov 2 -  Nov 16 -  Nov 30 -  Dec 14 -  Dec 28 -   
So, July 13th's title is likely to be revealed at any random time today, tomorrow, or Friday (but could be later, or there might not be a July 13th title)
 
Then, July 27th's title is likely to be revealed at any random time Weds the 21st -> Fri the 23rd, but could be earlier or later, or there might not be a July 27th title
 
etc
 
 
Since you said you've never bought an Intrada title, some Intrada titles I heartily recommend include
 
John Williams - Jaws, Jaws 2, The River, War of the Worlds Jerry Goldsmith - Alien, Patton, Explorers, Night Crossing James Horner - The Land Before Time, Honey I Shrunk The Kids, The Rocketeer, Apollo 13 Danny Elfman - Edward Scissorhands Alan Silvestri - Predator, Back To The Future, Back To The Future II, Judge Dredd Craig Safan - The Last Starfighter Bruce Broughton - Lost In Space

Can't wait for this "Epic sci-fy fantasy" in desaturated colors, slow-motion and sound-design-y score!

He’s out an about at least. 
https://people.com/movies/harrison-ford-steps-out-in-arm-sling-after-sustaining-injury-while-making-indiana-jones-5/

And alongside his other photos of Short Round, Willie, Elsa, and Mola Ram, all cropped screenshots from their respective movies.  RIP.

That's... yeah.

Hook! Hook! Hook! Goddamn it, give me Hook!