bollemanneke

The Decca is from 1972 and the Philips is in-between that and the Hänssler.

This particular discussion isn't about missing cues, it's about the way the cues are put together.

No, that's the transition between two cues, we have them in the leak. The film combines them well but OST combined them kind of weirdly and that was also for some rrason replicated in the main program.

Clever girl!

We're all very pleased with the final program, keeping it mind that there were factors that lead into some decisions, such as compact disc length, composer preference, fee increases for tracks over 10 minutes long, etc
 
Programming any expansion includes deciding what to do when there are multiple versions of cues in terms of which goes in the main program and which in the bonus tracks, and by and large sticking to having all the versions used in the film in the main program, and all the versions that were not as bonus tracks, made a lot of sense and led to each program being really strong.  Additionally, the careful selection of which score alternates should go at the end of disc 2, instead of disc 3, in order to make disc 3 be the best album it can be, worked out really well.  The one change a lot of people will probably do of taking those disc 2 tracks and adding them to the disc 3 album (as John Takis laid out somewhere here earlier), to basically make a longer Songs & Alts program, which is really just as valid as the structure we ended up with.  However, when released as three physical discs, I am glad that a big bonus program didn't start on disc 2, have a disc break, and then have it continue on disc 3.  It's kind of nicer to have disc 3 be more of its own thing. 
 
Like Mike has said, everything just kind of took a life of its own and came out perfectly in that regard.  The goal was to make a program that pleased us, the composer, and the lyricist, while adhering to the stipulations we had, and of course presenting the songs in the best way possible.  Since most of the songs are piano demos, if they were just lumped together in a row, they don't speak nearly as loudly as they do in the current album 3 configuration where you hear lushly orchestrated versions of the song melodies before or after those demos in the score alternates; it just makes everything work so well that way!
 
 
Now, when it comes down to it, the die hard fans are going to change things around the way they want anyway, and it's impossible to make a program that pleases everyone.  And sure, I'm a diehard fan as much as anyone, so I don't think there's any harm in stating some of my own preferences.
 
For Hook Trailer (Prologue), as much as I like the viola version of Peter's theme, I ultimately think the final performance edit made for the released trailer in 1991 is the strongest version of this music.  I am glad that the new track is completely different takes from that version throughout (instead of sticking the different sections into an otherwise same track), but for me it plays better as a bonus track opener, and keeping the 1991 performance edit version as the main version.  Just my preference.
 
For Yuppie Sounds (Banning Back Home), I prefer Williams' original version, with the fun improv section, over the revision that was recorded at the last minute because of a picture change.  We actually discussed making the original version be main program version, but there actually wasn't space on the discs to swap them, since the original version is a minute longer than the revised one!  But since the revision is what's in the film it worked out nicely in that regard anyway.
 
For the first part of Looney Wendy (The Stories Are True), I prefer the original version with the twisted version of the "Childhood" theme, over the later revision that is just a re-done Forgotten How To Fly with the "Mothers" theme mostly removed.  This version actually was in the main program for a while, but having the "Childhood" version on disc 3 ultimately made that disc so much stronger.  And again because the revision is what's in the film it worked out nicely anyway.
 
For The Lost Boy Chase, I really like the percussion insert section.  But John Williams wanted the album version in the main program.  I don't really think it matters much either way.  If anything, having to present the first two minutes of this cue three times (because it was used in the end credits) is the biggest issue with the final product, but also an issue that just has no workaround.  At least each instance is on a different disc!
 
For the entire grand finale, I prefer to have from Tink Grows Up through The End of Hook to just be one single 24 minute track with all cues seguing directly into each other, instead of broken up into 4 tracks.  Just my preference.
 
One thing I still haven't decided on after all this time is my final thoughts on the Kensington Extension (the final part of Farewell Neverland (Short Version / Alternate)).  At first it was so jarring to hear, but I kind of love it more and more every time I hear it, and am now expecting it when I get to the end of the score.  And yet there's something about the simplicity (for lack of a better word) of the original version's ending that can't be denied.  So, I'm still undecided which I like better! 
 
I think that's about it.  I still haven't fiddled with trying to put God Rest Ye Merry Gentlemen and Take Me Out To The Ballgame in the main program or anything.  And I don't think there's any merit in trying to put the other songs into the main program, not even "Low Below".  Not having Bob Hoskins performing as Smee there would be too weird I think (and you'd have to lose Show Us The Hook, which is one of my favorite parts of the score).   Moira's Lullaby seems like it would fit in well if not for the fact that the Saying Goodnight cue effectively replaces it.

I'm even more surprised we still don't know what the other things they're releasing on 4 May are.

I didn't want to answer for him but I remember seeing or hearing him say that he, Mike, and John were very happy with the final presentation after everyone came together to discuss how it should be presented and they all got to share their thoughts on it.

Was the Pick 'Em Up instrumental recorded as a solid three-minutes of percussion or was it only like a minute or so and looped for the film and LLL 3CD?

They always do. Their entire FB page reads as like a 'stop complaining please' plea which is uncalled for I think. Wait, maybe I shouldn't say that or I''ll get banned again.

They always do. Their entire FB page reads as like a 'stop complaining please' plea which is uncalled for I think. Wait, maybe I shouldn't say that or I''ll get banned again.

I'm bothered by the ommission of the alternate ending of "Unable to Stay, Unwilling to Leave" (which was used for the finale). Instead of including the utterly redundant "Leaving Port (With Alternate Ending)", which just fades out before the original ending, they could have included a track "Unable to Stay, Unwilling to Leave (Alternate)" with the new ending and without the pipes. 
 
This is still one of my favourite LLL releases and I wish I could relive happiness and excitement that I felt when I saw the announcement on FB. 

And we are FINISHED! 1500+ albums tagged, and tagged properly. Let the proofing begin.

Not exactly LTP, but the Boston Pops have a Harry Potter concert coming up this year that looks very exciting! "A Grand Suite from Harry Potter" on Sept 7 and 8. No program listed yet, but it mentions it's John Williams' music, so hopefully that means the concert suites from all three of the films he scored, and maybe some extra material from the score like they included in Boston Pops' Star Wars concert last year.
 
https://www.bso.org/events/a-grand-suite-from-harry-potter?performance=2024-09-07-19:30

I think overall the approach is somewhat like Intrada's Alien (another score butchered in the final cut, and a release done fully by Mike on the technical side): main program has the original versions, bonuses are the revisions? It's consistent and I have no problem with it, even if it's not my preference, but I always make my own playlists/assemblies anyway.

I do think MM would have made a better main program.

I'll be metadata-editing JW albums in honour of the occasion.

Be sure to pick up Titanic if you haven't yet - It's a wonderful release, an iconic Horner score, and I can't imagine how insanely high the price will skyrocket once it's out of print.

Best not to wonder about these things at all.

I haven't been getting them for months now. I tried writing emails to them but no answer, I messaged them on FB and after a week or two they responded... to write them an email. Wrote again, no response, no newsletter.

Oh I'm in no doubt they're putting out stuff they love, but in the wider soundtrack community and for fans of more modern stuff, it feels rather niche.
 
If we get to June's flyer and I don't recognise any composers, then I'll start to ask what's going on 

Original film score: ALWAYS film year, regardless of expansion or not
Re-recording: always year of re-recording

"Even though no footage was recorded, a Deluxe Blu-Ray will be released in the winter."

Original film score: ALWAYS film year, regardless of expansion or not
Re-recording: always year of re-recording

I set the Composer as the Album Artist, then Composer(s) and Conductor(s) for each track, as well as the usual Year and Genre (soundtracks). For song-scores, or compilations, I use Various.
 
So my file structure is: Album Artist \ Score \ track - track name.mp3
 
For pop songs I separately tag Artist (band), Composer / writer etc.
 
 

"Even though no footage was recorded, a Deluxe Blu-Ray will be released in the winter."