Holko

Had this on while working, (usually that's not the best time/place to get my best first impressions but whatever) and had fun! Bounced along to it a lot.

Same, but I did have 2 other books to order with for free shipping, one already out, the other coming out after this one. Ripping Bezos off with 3 rounds of shipping for the price of none!

Moonraker!

If 2 could be buffed up with extra stuff to hide what a shoddy and transparent skeleton of plot conveniences leading to plot convenienvlces leading to plot conveniences the whole thing is, that could work

Maaaan. I don't know what samples, what tracks I listened to, or what kind of gas was leaking in my room back then, but ever since this came out I just wrote it off as a boring noble solo trumpet americana score. Then now I did another complete listen to my Horner collection through a week or two for the anniversary of his death so I was in a Hornery mood, then was preparing another order, saw EU stores still have this, eh what the hell, let's give the samples another try. Holy shit. Let's quickly download it and skip through to make sure it has structure and the rest is not bland filler. I think I pushed "order" about 20 minutes after listening to the first sample! Haven't had such an excited rush for a complete unknown score in a while, haven't ordered any without a full(er) evaluation listen in a good while for sure. This is amazing. I love the choral material, especially the a capella cues! I love the winds and strings too. The horns and percussion too. This has great instrumentation all the way through! I love how seamlessly it can move between uplifting/fun, quietly reassuring, and unashamedly emotional. Love the little nuggets of darkness and dissonance sneaking in too, and of course the two big action pieces! The themes are not varied that much besides instrumentation, but they're combined in interesting ways and get nice understated arcs, and the runtime isn't long enough that it'd be any sort of big problem. Random aside: my first thought to hearing the final stretch was that Horner's scoring this a little bit like a sports movie! I could picture the team peptalk, march into the stadium and staredown under Preparations for Battle, Charging Fort Wagner works as Vangelisian/Poledourisian epic scoring for the team slowly getting points/turning the race around with hero moments for all the characters and an understated triumph at the end, a capella vocals in Epitaph to War for the slowmo emotional milking with cheesy narration, then the synth at the start of the credits again reminded me of Vangelis The OST and alternates had multiple worthwile different bits to keep, but not quite enough for a satisfying single-track Alternates Suite and nowadays I try buffing up/rounding out the main program with them in creative ways anyway so that's what I did. A Call to Arms - I don't love the sudden opening that much, but the very audibly different drums of the WIld Opening didn't do it for me either. I combined the two Flashback alternates here for a quiet introduction that still keeps the main themes' intended introductions without "spoiling them" - starting with Alternate 2, then transitioning to 1 seamlessly at the held note around 0:28, so that 1's percussion takes over when the crescendo of 2 would start. 1 then plays out in full, then to bridge it to A Call to Arms' opening, I AI-ed out a phrase of its percussion pattern to still follow the Wild Opening's spirit a bit. After Antietam - I used the album version for the slightly varied fanfare at the start. Forming the Regiment - just used the OST version here, love how well this join works. For the main body, I had 2 bits left I wanted to use - the latter half of Brave Words, Braver Deeds with its additional string figures, and Worth a Life's alternate 1. I scoured through for good placements that would make sense and not be too close to similar statements and this is what I found: Brave Words, Braver Deeds 1:25-end stuck to the end of The Whipping to delay New Shoes' happy resolution a bit with its anticipatory nature, maybe for a scene of deciding to get the new shoes (haven't actually seen the film yet, just going off of the wiki summary and the track-by-track in the booklet), and Worth a Life alt 1 between Burning the Town of Darien and Our Time as a confident reassurance of the regiment's theme between the bad experience and the scared readiness of first combat. Charging Fort Wagner: combined the two of course. Starting with main program, then at 1:50 transitioning to alt 0:26 (with a section from later copied back to make a cleaner transition point) to escalate it. Then around 2:25 when the alt would go into its ending, I copied roughly 1:42-1:52 ahead to make a clean transition point back to the film version's analogous bit, 1:50-end, which again works as an escalation, from the darker choir to cleaner rising uplifting figures before the finale. Closing Credits: I liked both the OST one's extra horn responses and the film one's louder percussion so I just AI-ed out the film one's percussion, quietened it a bit and added it to the OST one (also replicating the extra bit of persussion the film one's missing at 1:03).

IIUC?

2010 is just perfection. You time it all out, everything falls into place, the rhythms play out satisfyingly, 4/4/4/4, etc. But then for the 2025 in multiple places they didn't retime things "properly" and looped/inserted/cut stuff from the 2010's base instead so you end up with 4/4/6/3 or whatever. Not nearly as good.

Yes, that would be a sensible point, but then they'd have to go at the same pace as the movie assuming 1 hour episodes. So they'd have to do things the same way and leave out roughly the same things. Then what's the pooooint of thiiiiis

Such a reimagining that it's the same robe/uniform design and they even moved the scar to the side like the previous movies (book has it in the middle). Also already in full Gryffindor getup in s1e1? Probably just a staged pic.

Jerry's jagged action rhythms usually don't do much for me and I wasn't too interested in this either based on the announcement video or the samples, but gave it a try when it was put up on streaming. Then another, then another, then another over days, then somehow it started clicking. Then eventually it clicked enough that I bought it physically. I really like it now! The pop version is a nice establishing overture, especially with its unresolved ending, love how the opening focuses so much on the main theme before the action slowly enters (then suddenly takes over and escalates), and how it still pops up in varied statements. The credits is a wonderful way to end it, and even the song is alright as a bonus if I turn off lyric comprehension. The discrete cues are a little weird to include, but can't complain, I used them all to recreate both combined tracks with transitions that felt more right. The OST is not garbage, all the track combinations work, but it loses any structure, escalation and de-escalation the score has so overall eh. I love the cover, especially when compared with previous attempts or even the original poster itself! The colour and detail is gorgeous, it's cropped wide enough that nothing feels cramped, putting the big bold title down at the bottom to ground it instead of crowding the headspace emphasises Rambo's solitary figure, nice simple overall shape. Was it overall worth the price for what ultimately ended up as a 47 minute edit? I try not to think about that too hard nowadays. I got something I like, enriched future Goldsmith listening marathons, there's been a relative drought of new releases I'd love or care about in recent months or years anyway...

Interview starts at 8:00, with Neil about these Bonds in general and OHMSS specifically, nice anecdotes

Prequels had tracking because the sessions were booked too early for every film but George was still figuring out what the hell he was doing and large sequences were reedited (TPM, I Am the Senate) or didn't even really exist in a scorable form (AotC, RotS) at the time. And there the tracking was actual tracking, mostly horrible hackjobs. CoS has both tracking (literal copypaste and reediting of other recordings) and proper near 1:1 rerecordings. The Zam/Quidditch one is neither, it's a pretty extensive reorchestration.

Specifically establishing new themes.

Oh hell yeah. Start with Journey (and/or Traveller) and the Banner Saga trilogy!

Don't want to type out the entire pages from the LLL booklet, but what it says is: JW asked Ross to help out because of the schedule even before spotting the film He planned to write new themes but also adapt old themes from the first one, Ross being asked to do the latter and conduct it all JW spotted it with Columbus, called Ross, was very specific what to play where in some areas he could start with, he also began writing new themes and suggested Ross could use that too to expand on music from the first JW in an interview said he enjoys adapting old themes to new situations so he did some of that himself too Richard Dyer reported JW would compose 40 minutes of music which surely can't be right Conrad Pope said any Ross sketches were sent to JW in Tanglewood where he'd play through them and approve them or give notes Music editor Peter Myles said to him the only difference was JW wasn't physically there Ross said even late in the schedule he got new music from JW and told him he'd send the music police to confiscate his pencil Ross also says on the "adapted by" credit, possibly just in marketing speak of course: "That was something that John insisted on from our first meeting. The reality, however, is that Chamber of Secrets is a John Williams score beginning to end". So he was definitely very involved with the whole process. What I've been wondering for years too is just to what extent: to take an example, Flying Pixies. The different levels of involvement he could've had: Tell Ross to just take some action music from the first, whatever (not likely) Tell Ross to do something similar to Flying Keys Tell Ross specifically to adapt bits of Flying Keys Tell Ross specifically which bars of Flying Keys to bring over, with some connecting material wherever needed Tell Ross specifically which bars of Flying Keys to bring over and how to connect them with new material where needed, like what held chord to use for the skeleton falling down on what instruments Sketch it out himself noting what to bring over and sketching the new connecting stuff himself, by which point Ross's involvement is basically only as orchestrator as usual, and of course conductor who can make podium changes if required. I guess until complete paperwork and phone call transcripts and handwritten first sketches all leak for every single cue, we'll never know for sure I'm still more confused by why certain cues were tracked from the actual HP1 recordings when shit like Eat Slugs, just badly looped bars from a HP1 cue with virtually no progression, was rerecorded.

Well then it's 2 small titles instead of 1 big one!

Some of the wordiness is down to using "and" instead of "/" in many places, indicated in italic on the back of the box.

The timings restarting right when we wipe to the Destroyer could be an indication that the cue was originally spotted to start here, then it was extended to also cover the scene with the bounty hunters? But starting that at 0:32 is weird indeed. Maybe the bounty hunter scene was originally later and spotted together with another cue but it was cut out and pasted here with its timestamps?

Nice beard!

Even the novelisation is out already!

Or it'll make them realise how much better the old stuff was when they still put in some effort?

Very surprised to see what a long score this is!

https://lalalandrecords.com/sum-of-all-fears-the-remastered-expanded-limited-edition-2-cd-set/ LLLCD 1672 Music by Jerry Goldsmith Limited Edition of 3000 Units RETAIL PRICE: $31.98 STARTS SHIPPPING LATE JULY Order yours NOW at www.lalalandrecords.com La-La Land Records, Paramount Pictures and WEA present an expanded and remastered 2-CD re-issue of legendary composer Jerry Goldsmith’s (THE OMEN, STAR TREK – THE MOTION PICTURE, BASIC INSTINCT) original motion picture score to the 2002 Paramount Pictures espionage thriller THE SUM OF ALL FEARS. Based on the acclaimed Tom Clancy novel, the film stars Ben Affleck, Morgan Freeman and Liev Schreiber, and was directed by Phil Alden Robinson. This Goldsmith treasure returns to La-La Land Records better and bigger than ever in an all-new 2-CD presentation that unleashes the Maestro’s power in all of its brilliance. Striking themes and motifs abound in the composer’s powerhouse orchestral score, expertly weaving patriotism and hope with chilling dread and nail-biting suspense in equal measure – an undoubtedly important work from this iconic maestro’s final chapter. Produced by Neil S. Bulk and Bruce Botnick, this special release offers the score presentation and additional music, newly mixed and mastered by Botnick, on Disc 1, while Disc 2 features the remastered original 2002 soundtrack album with its unique takes, songs and segues. This limited edition of 3000 units features liner notes by writer Jeff Bond (updated from our 2014 release) and thrilling new art direction by Dan Goldwasser. TRACK LISTING: DISC 1 78:13 SCORE PRESENTATION 64:34 1. The Mission (Includes “If We Could Remember”) 5:56 2. Do It! / I’ll Go 1:53 3. The Bomb 2:55 4. 14 Months 1:35 5. The Deal 2:34 6. Thanks A Lot :44 7. That Went Well (Film Version) 2:44 8. The Shipment / Moscow Time 1:20 9. Nice Going 2:01 10. The Docks 1:44 11. Mrs. Spassky / The Lab 2:11 12. The Reservoir / Night Landing 1:50 13. Deserted Lab 1:50 14. Shoot Him :53 15. Changes 2:26 16. Clear The Stadium (Film Version) 1:31 17. Not The Russians / Man Your Aircraft 3:07 18. Further Aggression 1:41 19. State Of War 1:14 20. Supplies :49 21. To The Docks 1:21 22. Real Time 2:50 23. Cabot Is Dead 1:03 24. His Name Is Olson 1:50 25. Snap Count 2:11 26. Maximum Readiness / Get A Doctor 2:02 27. How Close? 6:05 28. The Same Air (Extended Version) 2:16 29. If We Could Remember 3:29 ADDITIONAL MUSIC 13:33 30. The Mission (Excerpt, Synth Choir Version) 4:31 31. The Bomb (Synth Choir Version) 2:55 32. The Star-Spangled Banner 1:54 33. His Name Is Olson (Synth Choir Version) 1:49 34. Theme From “The Sum Of All Fears” (Synth Demo) 2:14 DISC 2 49:40 REMASTERED ORIGINAL SOUNDTRACK ALBUM 1. If We Could Remember 3:30 2. The Mission (Includes “If We Could Remember”) 5:57 3. The Bomb 2:56 4. That Went Well 2:45 5. Clear The Stadium 1:33 6. If We Get Through This 3:36 7. The Deal 2:35 8. Changes 2:27 9. Snap Count 2:13 10. His Name Is Olson 1:52 11. Nessun dorma (From “Turandot”) 2:59 12. Deserted Lab 1:52 13. Real Time 2:51 14. How Close? 6:06 15. The Same Air 2:01 16. If We Could Remember (Reprise) 3:35 TOTAL ALBUM TIME 2:07:53

https://lalalandrecords.com/hunt-for-red-october-the-35th-anniversary-remastered-expanded-limited-edition-2-cd-set/ LLLCD 1671 Music by Basil Poledouris Limited Edition of 3000 Units La-La Land Records, Paramount Pictures and Geffen Records present an expanded and remastered 2-CD re-issue of renowned composer Basil Poledouris’ (CONAN THE BARBARIAN, ROBOCOP, STARSHIP TROOPERS) original motion picture score to the blockbuster 1990 Paramount Pictures espionage drama/thriller THE HUNT FOR RED OCTOBER, Based on Tom Clancy’s debut novel, the film stars Sean Connery, Alec Baldwin and James Earl Jones, and was directed by John McTiernan. Considered to be one of composer Basil Poledouris’ finest musical achievements, his iconic THE HUNT FOR RED OCTOBER masterwork is also heralded by many as among the very best film scores of the 1990s. A powerful orchestral and choral classic that is rousing, thrilling and even romantic, Poledouris also employs a keen grasp of contemporary electronics, resulting in the perfect blend for the film’s mix of Old-World duty, honor and patriotism with modern technological warfare. Expanded, re-mixed and remastered, this deluxe presentation unleashes the composer’s marvel like never before, in all its brilliance and in celebration of the film’s 35th anniversary! Produced by Dan Goldwasser and Neil S Bulk, this Limited Edition re-issue of 3000 units offers the score presentation on Disc 1, while disc 2 features the original 1990 soundtrack album and additional cues. While previous soundtrack releases, including the original 1990 soundtrack album, have been sourced from analog mixes and tapes, this limited edition 35th anniversary release has been newly remixed digitally and mastered by Chris Malone from the scoring masters. With access to these reels, additional bonus tracks were discovered that were never copied over to analog tape. The exclusive, in-depth liner notes are by author Jeff Bond and the sharp art direction is by Dan Goldwasser. DISC 1 1:03:24 SCORE PRESENTATION 1. Never Happened* 0:43 2. Hymn To Red October (Main Title) (Film Version) 5:09 3. Putin’s Demise (Film Version) 1:00 4. Tyler’s Office / Ramius And The Doctor / Dallas Listens 2:47 5. Course Two-Five-Zero 0:25 6. Interlude / Two-Five-Zero* / Padorin Reads* 1:10 7. Ryan’s Wheels / Tupolev** / Buckaroo** 3:22 8. The Line 0:36 9. Red Route I (Film Version) 3:48 10. Ancestral Aid 2:19 11. Plane Crash (Film Version) 1:57 12. Ryan Lifts Off / Emergence* 1:38 13. Two Wives* 2:47 14. Chopper (Film Version) 4:13 15. Submarine Dive / Necessary Force** 3:18 16. Outer Doors 2:17 17. Nuclear Scam (Film Version) 7:24 18. Mini-Sub / Contact 3:14 19. Tupolev’s Torpedo / Torpedo Hits 3:32 20. Kaboom!!! (Film Version) 6:26 21. End Title (Ancestral Aid / Hymn To Red October / Nuclear Scam) 4:41 DISC 2 1:12:44 ORIGINAL SOUNDTRACK ALBUM 30:18 1. Hymn To Red October (Main Title) 5:06 2. Nuclear Scam 7:18 3. Putin’s Demise 0:55 4. Course Two-Five-Zero 0:22 5. Ancestral Aid 2:16 6. Chopper 2:53 7. Two Wives 2:42 8. Red Route I 3:30 9. Plane Crash 1:51 10. Kaboom!!! 3:24 ADDITIONAL MUSIC 42:20 11. Hymn To Red October (Main Title) (Orchestra Only) 5:06 12. Putin’s Demise (Alternate) 1:00 13. Putin’s Demise (Alternate Mix) 1:06 14. Tyler’s Office (Alternate Mix) 0:47 15. Course Two-Five-Zero (Orchestra Only) 0:25 16. Two-Five-Zero (Shorter Alternate) 0:20 17. Ryan’s Wheels (Original Version) 0:43 18. Ryan’s Wheels (Alternate Mix) 0:49 19. The Line (Alternate Mix) 0:36 20. Red Route I (Alternate Mix) 3:46 21. Ancestral Aid (Alternate) 2:08 22. Plane Crash (Alternate Mix) 1:56 23. Necessary Force (Alternate Mix) 2:26 24. Outer Doors (Alternate Mix) 2:17 25. Nuclear Scam (Orchestra Only) 7:24 26. Mini-Sub (Alternate Mix) / Contact (Alternate) 3:21 27. Kaboom!!! (Alternate Mix) 6:24 28. The Anthem of the Soviet Union (Vocal) 1:18 TOTAL ALBUM TIME 2:16:08 *NOT USED IN FILM **CONTAINS MATERIAL NOT USED IN FILM