Smaug The Iron

Samples and direct order:
 
https://lalalandrecords.com/sugarland-express-the-limited-edition/
 
1. The Sugarland Express – Main Title 1:29
2. Freedom At Last :46
3. The First Chase 2:32
4. Taking The Jump 1:48
5. The Caravan Forms 2:01
6. To The Roadblock 1:27
7. Sugarland Dance 1:38
8. Road Ballad 2:05
9. Out Of Gas 2:24
10. Trading Stamps 1:14
11. Police Cars Move 1:00
12. Along The Route 1:18
13. Man And Wife 2:09
14. Franklyn Falls :29
15. Sealing The Bargain 1:27
16. The Deputies Arrive :55
17. The Onlookers 1:02
18. Open Highway 2:04
19. Pursuit 1:51
20. Over The Next Hill 1:04
21. Setting The Trap 1:41
22. Last Conversation 2:00
23. The Final Ride 3:36
24. The Sugarland Express – End Title 1:45
 
Total Album Time: 40:31
 
 

https://www.facebook.com/photo/?fbid=996160772519983&set=a.484587293677336
 
Universal Pictures Film Music Classics Collection

Music composed and conducted by John Williams

Limited Edition of 5000 Units

RETAIL PRICE: $22.98

STARTS SHIPPING JUNE 24
 
La-La Land Records and Universal Studios proudly present the twenty-first title within the acclaimed Universal Pictures Film Music Classics Collection  – THE SUGARLAND EXPRESS, a world premiere release of music from the original soundtrack for the very first collaboration between director Steven Spielberg and composer John Williams (JAWS, E.T., SCHINDLER’S LIST).
 
Celebrating its 50th anniversary, THE SUGARLAND EXPRESS, released in 1974, stars Goldie Hawn as a Texas mother who breaks her husband (William Atherton) out of a prison farm when she is denied custody of their baby. Together they hijack a highway patrolman (Michael Sacks) and lead a convoy of media, onlookers, and countless police cars across the state. Spielberg’s first feature film balances comedy, drama and action in what Pauline Kael of The New Yorker called “one of the most phenomenal debut films in the history of movies.”
 
Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack, which now takes a place of honor in the successful Universal Studios Film Music Classics Collection.
 
While Spielberg originally hoped for a larger scale score for his first movie, Williams convinced him that THE SUGARLAND EXPRESS called for something more intimate. The great Belgian harmonica soloist Toots Thielemans became the principal musical voice of the film, supported by an ensemble of top guitarists and percussionists and a small string ensemble. The resulting music reflects the complex characters and the building tension of the story, with a bluesy, country vibe evoking the landscape and cultural backdrop of the tale. The album presentation, produced by the composer, delivers a distinctive musical journey and features material not used in the completed film.
 
Classics Collection producer Mike Matessino mixed, edited and mastered the album from high resolution transfers of pristine 8-track master tapes, archiving the material as well as conforming the music for a new stereo mix of the film. Matessino also contributes in-depth liner notes detailing the history of the production, the creation of the music, and its place in the legendary Spielberg/Williams collaboration. Art direction by Jim Titus appropriately celebrates this historic premiere release.
 
 
Hell yeah!!! Finally!

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JNH's Peter Pan

According to some Facebook posts, fellow member @Greg1138 has passed away. 
I had some regular contacts with him during the mid to late 00's (I remember recurring conversations about Minority Report) and then just occasionally exchange a mail.
I saw he last logged it last year. I wonder if he was still in touch with anyone around here.
 

"Anakin killed a whole Death Star"

Yeah, I'm thinking @Chen G.'s comment regarding our assumptions on the ubiquity of Star Wars knowledge (or lack thereof) may be correct...i.e. I don't think universal knowledge that Vader is Luke's father is the given we think it is. 
 
 
2024-05-31_JonasJCampbell_1796552279279247694_wjpcX4vD93T-n9IZ.mp4 2024-05-31_Nerdrotics_1796566667163468093_drHRI8foeFSlSs_v.mp4

The statement of Rose’s theme in The Fathiers more than justifies the existence of the theme. Absolutely incredible stuff. I just don’t think the theme has quite enough substance to be the MAIN theme of the score, unfortunately. I think that scrapped B theme would have helped.
 
Last Jedi is still an easy 5/5 score for me, though. Few Williams score are so imbued with that level of moodiness and desperation. I’d put it a step behind TFA, weaker thematic core but among the strongest narratives of any SW score.

I think this is the appropriate thread...
A mockup of a fragment of an early version of End Credits (1-27-17).
 
End Credits music in TLJ has a complex history of versions: at least three can be distinguished, the thematic structure of which you can see in the Lehman's Catalogue (page 87).  
 
The earliest version isn't "available" in its entirety: only the first part. In the sequel trilogy, JW always wrote End Credits in parts (in at least two). For example, it is known that in TFA he wrote one part first and handed it to JKMS with a note in the sketch "Ending to come".
 
As for this version, 9 days later (February 5) JW made small fixes regarding instrumentation. Perhaps at that time the 2nd part of End Credits was already finished, but we don't know about it.
 
Moreover, I only did a mockup of the first half of that part. The most intriguing thing here is Rose's alternate B-theme, which JW later abandoned. Also he tried to continue the 'Luke in Exile' theme (at 1:57). 
(The second "unmockuped" half is based on 1M6 We Can Do This, but contains original snippets as well. Alas, I'm not sure I'll take on this half...)
 

Good morning.
 
I woke up to a message from Joe's sister. He has died unexpectedly.
 
Joe is one of the longest standing members of JWFan. Joining, i assume, in 1999 or 2000.
 
We became friends and remained friends.
 
Joe always claimed that when John Williams dies God would thank him personally for E.T.
 
A score i will listen too a lot this weekend. 
 
He is survived by his husband, and 2 Boston Terriers.
 
Stefan Cosman 

I've had a great idea. Indeed, it's so good I have to imagine Jackson and co must have struck upon the same thing, and if they haven't and are reading this (have faith), they have my permission to steal it.
 
I should precede this by saying that if I were doing this film, I'd condense the timeline of events considerably. Since I am unable to think of anything more exciting or relevant, the opening scene would be Gollum in his cave, tormented, and eventually deciding to leave the mountains (the last shot would be him emerging into the light). We'd then cut to the Rangers of the North (I'm thinking in the ruins of Fornost). They get attacked (I was thinking of being 'creative' and having Wights here, but we could go with Orcs), when Gandalf arrives to intervene, seeking Aragorn. He's just come from Bilbo's party and he expresses his concerns. Long story short, Aragorn agrees to go along on the hunt for Gollum. That's it, we're away. There's no prior bit where Gandalf spots Gollum in Mirkwood, loses track of him then just leaves him be for decades (unless Gandalf merely mentions this to Aragorn, but even then, I think it would just be confusing). I think any cinematic interpretation would have to streamline events.
 
So anyway, back to my idea. Next time we see Gollum, he's in Mirkwood (he's already been to Laketown). On another note I was thinking it might be cool to see the Mountains of Mirkwood, something different, but I digress. He's spotted by Elves (let's say Legolas is with them). They either track or actively pursue him. Some kind of chase/action scene where the Elves run into spiders maybe, but it's a distraction that allows Gollum to give them the slip. He stumbles upon Dol Guldur. He figures it will offer him refuge, but perhaps he's subconsciously drawn to it anyway. He tentatively makes his way in.
 
Now here's where Jackson offered himself (presumably unknowingly) a perfect plot device. In The Hobbit trilogy, you may recall that there is in fact a Palantir in Dol Guldur. The scene where it was meant to feature was cut (of course we have the wonderful music), but it's there. I was actually expecting Saruman to take it and have that be the cinematic explanation for his possession of the seeing stone, but they didn't go with that. I'm not going to give Jackson credit of possessing his own such foresight, but now the situation is perfect. Gollum stumbles across the Palantir, looks into it. He's 'transported' from DG way south to Mordor (sort of like Frodo in his vision at Amon Hen), sees Mount Doom, sees the Ring. Perhaps sees a false future of himself finding the Ring on Mount Doom, all triumphant. It's all designed to lure him to Mordor, and obviously he buys it, and resolves to journey southwards.
 
There you have it. A perfectly straightforward explanation for why Gollum is drawn to Mordor. Even Tolkien is never explicit on this subject to my knowledge - it's very much a case of the reader assuming that Gollum is drawn there by Sauron in some way.

It would be really lovely if Sugarland and The Terminal come out this year for the 50th and 20th anniversary.
Then do CMIYC next year and after that we must wait for Disney to realise that what fans wants is a 100% complete release (mastered by Mike) of Indiana Jones (and Star Wars) and that the reissue fee for the post 2005 is gone or changed so we can get the last 7 Spielberg/Williams scores. 

It would be really lovely if Sugarland and The Terminal come out this year for the 50th and 20th anniversary.
Then do CMIYC next year and after that we must wait for Disney to realise that what fans wants is a 100% complete release (mastered by Mike) of Indiana Jones (and Star Wars) and that the reissue fee for the post 2005 is gone or changed so we can get the last 7 Spielberg/Williams scores. 

Arrived today!

I'm quietly hopeful once we pass the 20 year threshold from the stupid cutoff date, the AFM will be more open to granting waivers to scores older than 20 years.
 
If that came to pass, we could theoretically get Munich and Memoirs next year.

BBC now reporting the Bernard Hill news: https://www.bbc.co.uk/news/entertainment-arts-68962192