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The Five Tones

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  1. I love when MM references the intertextual in JW's scores, e.g. the above in context with Lost World (I think?) I was watching Jaws with one of my kids within a day of listening to the podcast, and this made me think about how music was used there too. There are many great unscored moments, the human to human dramas but also the death of Quint, which in a way might reflect his own pathetic human struggle and pulls away the myth around Quint's Tale, the Sea Hawk-like music, "Spanish Ladies," etc. My set arrived a few days ago and I've listened to the score presentation. Sound is as fantastic
  2. Ordered. Haven't seen the film since 2005, but definitely admired the score as part of JW's dark sci-fi run of the period. Didn't love the OST CD as much as I'd wanted to, so hoping as with MM's expanded MR release for a proper experience of the music in its full range of colours and dynamics.
  3. CD arrived from Amazon on Saturday. Such a historic event and I'm so happy about it as a fan and amazed at the achievement, even if by the time I got down to listening to the music I had a hard time not comparing it to everything that's come before especially recently with the Dudamel and Mutter releases. As a general response. And having that composer/musician perfectionist response (i.e. wasn't there time to retake all the mistakes?). And if I'm being honest, having that biased reaction in hearing American music performed by continental European orchestras, no matter how great or interconnec
  4. Similar. In ROTJ it's more exposed in the mix and has a gesture-like LFO effect - could've been Minimoog, Oberheim, Roland Jupiter, Prophet 5, so many period instruments. In River, it feels a little like the breathy pads of the peak 80s a la Peter Gabriel - Synclavier, Fairlight or even Yahama DX-7. Great mood setting opener! Also, he really nabs you with that deceptively simple main theme. The 4-3 suspension resolved, stoic, sometimes harmonized with the flat seventh degree, bluesy, contemporary, unwavering within a changed harmony. Perfect music for a family... with a little inte
  5. Have listened now and really like it (in that rainy day, mellow mood way others have mentioned). It fits a niche in his output. Matessino describes it as a return to his Americana period that ended in 1974, which is quite evident, but it also felt literally like a return to 1974 in some ways, as though The River was another disaster score and not a farm family drama. I can even hear the main theme with a brass variation and a deep low note, a la Towering Inferno main title, although that is beyond the scope of this score. Even the acoustic drum kit in End Credits (The River) echoes that instru
  6. Arrived in Toronto this morning, 15 days after ordering. Grateful to still be able to have this access and engagement during these times.
  7. Sure. But now we all need to know MM's or someone else's rationale for the ordering... JWFan won't rest until the reason is known, lol
  8. If it really mattered, I agree, most expansions put the OST presentation at the back, kind of like singles, remixes and live versions on pop expansions... in the order versions were created. But, does it really matter? Isn't everyone ripping their collection to iTunes or another player anyway. These releases always end up on several lists for me: JW master playlist, JW (by decade), LLL as issued, JWFan C&C, iPhone list, etc. and tracks are variously reordered, omitted, adjacent to different programs depending.
  9. Those for sure would be a "top 3 Gothic" alone, but I mean it very generally to refer to the darker, melodramatic, almost (but not quite) operatic side. So not just the actual period Gothic setting of those pieces, but the American gothic of pieces like Nixon or Black Sunday or even Minority Report, bits of Sleepers. The Kryptonian act of Superman which I love. "The Hungry Sea" episode of Lost in Space, that weirdly explosive First Act Finale from Fiddler on the Roof. Gothic in the way ANH is that none of the other episodes quite are (possibly due to the darker sound of its recording). TLJ min
  10. Ordered. Saw the film somewhere in the 80s and haven't thought about it or the score since. I would rather The Reivers (if we ever get it) with its time capsule approach to Americana, than The River which feels like a time capsule now by default, but it is from his golden decade so hard to pass up. I'm sure I'll find material I'll gravitate to even though I'm more fantasy/gothic side with JW.
  11. A wonderful archival edition to have - what a scoring year for him. There's a metascore feeling to it, with echoes of existing repertoire and hints of things to come. I listened to the intense early act of the score before referring to the notes or revisiting any material on the film, it works without getting specific on subject as Jerry's style works its own narrative magic. Somewhat reductive from what I might've expected in this period though brilliantly so and also among his most dynamic including Alien.
  12. In the mail today (9 days after ordering). Arrived home too late to focus on but tomorrow night!
  13. Got a shipping notice yesterday so should arrive soon, usually within a week or not much more from Burbank to Toronto.
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