blondheim

I used the guide when I was younger but I am trying to beat the whole game without it this time This is breaking me though. The Zora swim mechanic is absolutely ridiculous sometimes. I get caught in a corner even once and I have to delicately set down the controller and count breaths I sometimes think I should have played Link to the Past

I fucking hate the Great Bay Temple Excuse my language

Jesus Christ

These are both my favorite Williams scores and most wanted rereleases

I want at least one more Spielberg so that the last film Spielberg made in John's lifetime isn't West Side Story with David Newman EDIT: This reads like I am upset about David Newman which I never, ever am. I just want another great project for Williams, too

This isn't a perfect library science by any means but Lights Camera Music would go in the compilations section of my John Williams shelf in the order of when it was recorded/released Since A Palace Upon the Ruins is a collection of concert pieces but also essentially an album for Shore, this one would be difficult. I don't own a physical copy so I don't have to truly worry about it, but if I knew the dates of when each piece was recorded and if they all centered around one general time in his career and if my collection of that time didn't have too many other physicals discs vying for its spot, then it would be a moot point with no conflict In the case of the Rosza, I would either organize that recording in my classical section by recording date only, not separated by composer, if the works were all classical concert pieces or, depending on how many of them are film work or derived from film work, it could end up in the Rozsa section of my film score collection where it would go in his compilations section with any other compilations, were there any

My logic there is that I wouldn't have a hard time classifying Close Encounters 40th Anniversary because of Inside. So with that in mind, I go with the main attraction on the classical disc. I don't tend to buy compilations or economy-package releases unless it is the only program available or it is an incredible sonic upgrade. I opt for LP recreations, especially in big box sets. So there are a few recordings that are hard to classify, but it is pretty rare. Martha Argerich's Rachmaninoff 3rd and Tchaikovsky 1st is a tricky but necessary disc to file I obviously keep symphony cycles and boxes together since they are all over the place

I have the information for classical music where I can look at works in the order they premiered for a composer, or in the order they wrote them. Although it is admittedly tricky to find all that information While the recording information is typically more easily found and so the CDs are more likely to stay where they are put. I reasoned this allows the other two more historical and less album-ic orders to be kept more appropriately together I totally understand a person doing it by the way that matters to them most. I did it the way that made the most logical sense with my collection because my own naggy little mind would allow nothing else

I also think it is a nice way of seeing recording trends in classical music as filtered through my taste and aesthetic. I can look at my collection and read the Mahler boom from left to right

I agree. I listen to a lot of classical and sometimes when I go to grab a disc to spin, I am interested in a specific sound, like maybe, say, the London Symphony Orchestra in the late fifties or sixties. I guess that may be an odd way of doing it but I've never thought about it that way I have easily accessible, comprehensive lists for that information because it is very important to me as well

This. Since that is also how I organize my classical music, it makes everything not only convenient but uniform, which is always nice

Under Fire is my current favorite. I am incredibly fond of Medicine Man as well. Also, The Final Conflict and The Mummy. If I had to pick a fifth, shoot me, but I would take Nemesis. I have been listening to it a lot and I think it's reeeeeally under-rated But this Looney Tunes score is one I don't know. I am excited for this release. I am glad it includes everything composed by the additional composers and has it labeled so conveniently. I really enjoy hearing that stuff. I am definitely going to get acquainted with the original album now

Not to mention the music box is becomes one more early and important instance of the score using source music to smear the line between what we can hear and what the characters can hear. Theatrical cut, all the way

I actually like having the alternate take. I don't find it crummy, just not as brash. I wouldn't say I prefer it, just that I really enjoy hearing something new in a track I have been in love with since birth, it feels like

That's great. I actually prefer it this way because like that moment I mentioned a few posts above, if you don't have the Pinocchio movie conversation and only her instance of calling him Jiminy Cricket, it comes across as an inside joke between the two of them which actually strengthens Roy's character connection to the Pinocchio concept, in my opinion. With the conversation about the movie, she is just quipping on the conversation at hand which is a very different and less effective scene, I think.

It's more than that. According to Spielberg, the song is where it all began. It is given a lot of significance in the film. It is played immediately on a music box the moment we get in the Neary House, right before we see Roy's face, disappointed that whatever he wanted to happen with the trains didn't go the way he thought it would. This mild disappointment nicely sets up his character arc of wanting something more.

His wife also calls him Jiminy Cricket early in the film, implying that his connection to Pinocchio is strong enough to have become an inside joke for them.

I really wish the Wiener's Excerpts included the When You Wish quote. I'd kill to have that.

To say there are not little flubs/mistakes/idiosyncrasies/uniquenesses/whatever you want to call them is crazy To say they don't matter is correct ( don't shoot)

The whole series is sort of a campy masterpiece. Star by Star really kicks

It moves me to tears. Listening to Return to the Wild in 2015 was something else, I really imprinted on this one.

When I played this CoS suite, it had Harry's Wondrous World as the fifth movement

I prefer the Gerhardt performance. The tempo is a little grander and Brucknerian.

Gerhardt is the way to go if you need Arrival of the Visitors, as I do. If you are okay without it, Vienna

I don't have that other album you are referring to but I would be surprised if there isn't mention of it in the booklet credits, if indeed it is the same arrangement of Close Encounters containing On The Inside. If I'm not mistaken it was debuted by the Boston Pops on that album