Bayesian

Ordered! Titanic too. Cannot wait to give CE3K a whirl on this new presentation.
 
Titanic was ordered today more because it could well sell out before I ever got back around to coming for it. For the sake of my credit card balance, it had better sell out fast. (JUST KIDDING, to anyone who doesn't take jokes.)

It is extremely oppressive both on album and in the film - it is just droning the same phrases over and over again with little variation. 
 
Extremely unimaginative.
 
It is the definition of wallpaper music. It's a not a score, its a looped musical background that can be applied like wallpaper to a film.
 
Truly the end is nigh if something like this can be considered a masterpiece of film scoring.

Offer my services to help make new editions of his older works be as complete and definitive as possible.

I move money from my pocket to his pocket by buying CDs with his name on them. 

I'm just trying to educate, Bespin.
 
The fact is the ROTJ OST has MORE concert arrangements than the ET OST does, yet you classify ET as a rerecording and not ROTJ.  It doesn't make sense.
 
The 1993 anthology wasn't the premiere release or ROTJ's score any more than the 1996 ET was the premiere release of ET's score.  They weren't.  Their OSTs were.
 
 
Sometimes reissues drop music released on earlier editions
The 1996 ET expansion dropped the 5 concert arrangements, the horn overlay, the steven's fix insert, etc The 1993 Star Wars anthlogy boxset dropped the Mynock Cave music from Empire The 1997 ROTJ SE dropped the Lapti Nek, Ewok Celebration, Jabba The Hutt concert arrangement, and Leia Breaks The News alternate that had been on the OST and 1993 anthology The 1998 CE3K expansion dropped an alternate and some overlays that had been on the OST The 2002 ET expansion replaced some alternate material that had premiered on the 1996 expansion with film versions, and also had an edited version of ET Is Alive where the OST and 1996 had the full cue The 2012 Hook expansion doesn't have the original ending of The Flight to Neverland or the take of The Face of Pan with no choir that the OST had Etc
 
They are still expansions.  Just not properly done ones

Apples and oranges.
 
For ET, all 8 tracks are different than their disc 1 counterparts.
"Abandoned And Pursued", "E.T. And Me", "E.T.'s Halloween", "Flying",  and "Over The Moon" are concert arrangements. "Three Million Light Years From Home" has an edit "E.T. Phone Home" features 10 seconds that are a different take than the film version "Adventure On Earth" features a horn overlay not used in the film. So yes, since all 8 tracks had to be included, of course it made sense to present them together in the same order as the Grammy-winning 1982 LP.
 
 
For ROTJ, that isn't the case.
"Luke And Leia", "Parade Of The Ewoks", and "The Forest Battle" are concert arrangements. "Lapti Nek (By Jabba's Palace Band)" is a special album-only version of the film's song "Han Salo Returns (At The Court of Jabba The Hutt)" features a portion of a film cue from 0:00-2:47, then the "Jabba the Hutt" concert arrangement from 2:47-end "Ewok Celebration and Finale" features a special album-only version of the final cue from 0:00-1:57, then the end credits music from 1:57-end "Main Title (The Main Story Continues)" is the first 2 cues of the film's score, but with a bad analog edit that removes some music Only "Into The Trap" and "The Emperor" are actual cues from the film, unedited.  
So yes, if he was given license to do a 3CD set of ROTJ in the future, he absolutely would include the full LP program on disc 3.  If he is stuck doing a 2CD set again, the film cues would be in the main score program and the album-only stuff would be bonus tracks.  ROTJ is a much longer score than ET so there is no room to fit the full LP program on a 2CD set.

Reading the title
 

 
Then reading the post
 

Man, what I would do or give for a photo with JW or sit in on a recording session. (Answer: just about anything)

Nope.  They're doing the limited release at the end of December specifically so it can be considered a 2017 film for awards.

My preference lies with the first one, but apparently the last one is correct according to capitalization rules.
 
 
Agreed.

I have a specific scheme for organizing my Star Wars scores.
 
Star Wars 1 - The Phantom Menace - Original Soundtrack
Star Wars 2 - Attach Of The Clones - Original Soundtrack
Star Wars 3 - Revenge Of The Sith - Original Soundtrack
Star Wars 3.5 - Rogue One - Original Soundtrack.
Star Wars 4 - A New Hope
Star Wars 4 - A New Hope - Concert Arrangements
Star Wars 5 - The Empire Strikes Back
Star Wars 5 - The Empire Strikes Back - Concert Arrangements
Star Wars 6 - Return of the Jedi
Star Wars 6 - Return of the Jedi - Concert Arrangements
Star Wars 7 - Revenge Of The Sith - Original Soundtrack
 
It's a convention that keeps it clear for episode order, separates concert arrangements from the scores themselves, and also tracks OSTs.
 
Then for the Anthology:
Star Wars Anthology 1 - Star Wars
Star Wars Anthology 2 - The Empire Strikes Back
Star Wars Anthology 3 - Return Of The Jedi
Star Wars Anthology 4 - Extras and Alternates
 
I think this is pretty much the best I can come up with.

I have all the Star Wars soundtracks in my iTunes with the template of:
 
Star Wars Episode IV: A New Hope
 
And for the original trilogy, where I have both the OSTs and the '97 editions, one is always labeled:
 
Star Wars Episode IV: A New Hope (OST)
 
Not very elegant, but it gets the job done.

I'm excited for this one (film and score)! I can't hazard a guess as to the kind of sound JW will bring, but I sure admire how they used Helvetica throughout the trailer. Nicely done. : )

There's nothing to feel mean spirited about with that comment. Interviews are important if you find the subjects meaningful. Since you're unlikely to ever get to interview the person yourself, you depend on the interviewer to try to glean details that you'd never otherwise get a chance to learn about. My wife and I were at Comic-Con this past July and watched a replay of some of the Saturday Hall H panels. Chris Hardwick was interviewing the Justice League cast and it was atrocious. You learned NOTHING from it that would have merited a 20-hour wait in line. "How was it to work with this group?" "Oh, it was amazing." Yeesh. Maybe that's why any lingering interest I had in JL evaporated on the spot that day. (For the record, Ray Miller was probably the only one who bothered not to phone it in and gave answers that were not completely asinine or empty.)
 
I may not have heard of the term "mechanical rate" before reading the MM interview, but it took me only 15 seconds on Google to learn what it means, and now I have some trivia about how a tiny part of the music industry works. That's rewarding to me. That's what a good interview should allow for. Again, thank you, Jay. Maybe you could one day interview Shawn Murphy or Conrad Pope -- I for one would love to learn a bit about the intricacies of sound engineering or orchestration!! Or any of the folks at JoAnn Kane. Or...

There's nothing to feel mean spirited about with that comment. Interviews are important if you find the subjects meaningful. Since you're unlikely to ever get to interview the person yourself, you depend on the interviewer to try to glean details that you'd never otherwise get a chance to learn about. My wife and I were at Comic-Con this past July and watched a replay of some of the Saturday Hall H panels. Chris Hardwick was interviewing the Justice League cast and it was atrocious. You learned NOTHING from it that would have merited a 20-hour wait in line. "How was it to work with this group?" "Oh, it was amazing." Yeesh. Maybe that's why any lingering interest I had in JL evaporated on the spot that day. (For the record, Ray Miller was probably the only one who bothered not to phone it in and gave answers that were not completely asinine or empty.)
 
I may not have heard of the term "mechanical rate" before reading the MM interview, but it took me only 15 seconds on Google to learn what it means, and now I have some trivia about how a tiny part of the music industry works. That's rewarding to me. That's what a good interview should allow for. Again, thank you, Jay. Maybe you could one day interview Shawn Murphy or Conrad Pope -- I for one would love to learn a bit about the intricacies of sound engineering or orchestration!! Or any of the folks at JoAnn Kane. Or...

Could not agree more. Terrific interview, Jay! It's refreshing to come away after reading a great interview like this with some of the minutiae of the process -- and in my case, to learn that the work involved is actually WAY greater than I expected. It brings my appreciation and respect for the work of MM, LLL, et al. to a whole new level.
 
Most interviewers are pathetic. They hardly ever let you glimpse what it's really like to be the interviewee because they never ask the insider questions. But it's exactly the answers to such questions that allow people to learn how the sausage is made, so to speak. That's where the novelty lies.
 
After reading this interview, I no longer have ANY issue with the prices charged for an expanded limited release of a JW score. Once you realize how MM, LLL, and seemingly half of the film and music industry back office in SoCal cooperate to produce such a niche product, there is nothing to feel but total gratitude. (And when that event happens over and over and over in the span of a few years in the JW oeuvre, it's nothing short of miraculous.)

Could not agree more. Terrific interview, Jay! It's refreshing to come away after reading a great interview like this with some of the minutiae of the process -- and in my case, to learn that the work involved is actually WAY greater than I expected. It brings my appreciation and respect for the work of MM, LLL, et al. to a whole new level.
 
Most interviewers are pathetic. They hardly ever let you glimpse what it's really like to be the interviewee because they never ask the insider questions. But it's exactly the answers to such questions that allow people to learn how the sausage is made, so to speak. That's where the novelty lies.
 
After reading this interview, I no longer have ANY issue with the prices charged for an expanded limited release of a JW score. Once you realize how MM, LLL, and seemingly half of the film and music industry back office in SoCal cooperate to produce such a niche product, there is nothing to feel but total gratitude. (And when that event happens over and over and over in the span of a few years in the JW oeuvre, it's nothing short of miraculous.)

Could not agree more. Terrific interview, Jay! It's refreshing to come away after reading a great interview like this with some of the minutiae of the process -- and in my case, to learn that the work involved is actually WAY greater than I expected. It brings my appreciation and respect for the work of MM, LLL, et al. to a whole new level.
 
Most interviewers are pathetic. They hardly ever let you glimpse what it's really like to be the interviewee because they never ask the insider questions. But it's exactly the answers to such questions that allow people to learn how the sausage is made, so to speak. That's where the novelty lies.
 
After reading this interview, I no longer have ANY issue with the prices charged for an expanded limited release of a JW score. Once you realize how MM, LLL, and seemingly half of the film and music industry back office in SoCal cooperate to produce such a niche product, there is nothing to feel but total gratitude. (And when that event happens over and over and over in the span of a few years in the JW oeuvre, it's nothing short of miraculous.)

Check out our new main page article where I interview Mike Matessino about E.T.: The Extra-Terrestrial 35th Anniversary Edition, The John Williams Jurassic Park Collection, Stanley & Iris / Pete 'n' Tillie, Close Encounters of the Third Kind, and more!
 

You fail English? That's unpossible. 

It proved to me how good his new TFA themes are because other composers can take them and do interesting variations on them.  Rey's Theme and The Jedi Steps will stand the test of time as some of film scores' all time best themes

Received mine this morning, and agreed, it's terrific. Loving every bit!
 
I'll mention it here, since it's as good a place as any -- I've always loved "Deacon's Speech" and especially the part from 1:54 to 2:09, where the buildup of the previous two minutes gives way to a monumental climax. (It's the same on the OST as on the new release.) Part of what makes it magical for me is how this part is used in the movie -- the little girl is talking about how the Mariner is going to rescue her because he's unstoppable, and the scene is intercut with shots of him unstoppably coming to rescue her. The musical climax is doing the same thing her words are: mythologizing him. It's an amazing moment.

Received mine this morning, and agreed, it's terrific. Loving every bit!
 
I'll mention it here, since it's as good a place as any -- I've always loved "Deacon's Speech" and especially the part from 1:54 to 2:09, where the buildup of the previous two minutes gives way to a monumental climax. (It's the same on the OST as on the new release.) Part of what makes it magical for me is how this part is used in the movie -- the little girl is talking about how the Mariner is going to rescue her because he's unstoppable, and the scene is intercut with shots of him unstoppably coming to rescue her. The musical climax is doing the same thing her words are: mythologizing him. It's an amazing moment.

Received mine this morning, and agreed, it's terrific. Loving every bit!
 
I'll mention it here, since it's as good a place as any -- I've always loved "Deacon's Speech" and especially the part from 1:54 to 2:09, where the buildup of the previous two minutes gives way to a monumental climax. (It's the same on the OST as on the new release.) Part of what makes it magical for me is how this part is used in the movie -- the little girl is talking about how the Mariner is going to rescue her because he's unstoppable, and the scene is intercut with shots of him unstoppably coming to rescue her. The musical climax is doing the same thing her words are: mythologizing him. It's an amazing moment.

A little respect goes a long way.
 
He is the father of Frank Marshall, producer of a few films you may have heard of.
 
He is also the composer of The Munsters, among a handful of other films and tv projects
 
He also played a hand in getting a young pianist some gigs early on in his career. Care to guess who that young musician was?
 
MV