KittBash

Here’s some nice scoring session footage, with William Ross conducting.
 
 

Cue titles in the final film courtesy of @Lockdown, found on cocatalog.gov
 
1m03 A Room With an Entrez-Vous
1m04 Let the Spieling Begin ALT
1m05 A Two-State Locution
1m06-07 Rough Around the Ledger-It’s Ms. You to You
1m06A The Turn of a Coin
2m08-09 Suit-casing the Joint Part 1
2m08-09 Suit-casing the Joint Part 2
2m12 Mirror Mortals
2m14 When Push Comes to Hoover
2m16 Darlene Eyed Monster
3m17 Malibu Murder Mystery
3m21 My Memory My Memory
3m23 I Spy With My Little FBI
3m24 Sea You Again Soon ALT
3m25 The Doors of Deception Part 1
3m25 The Doors of Deception Part 2
3m26 Croak and Mirror Show
4m28 Voyeur in So Much Trouble
4m30-5m31 Clingin’ in the Rain-A Priest and a Singer Walk Into a Car
5m32 A Bang Up Robbery
5m33 You Can’t Flynn ’em All
5m35 Miles Away From Safety Part 1
5m35 Miles Away From Safety Part 2
6m39-40 Rose and Cons
6m42-43 A Blaze of Allegory
7m45 Billy Lee is Not My Lover
7m47 Roulette the Chips Fall
7m48 Song and Chance Number
7m50 The Wages of Flynn
8m51 Few and Far Marines
8m52 Absolution Presents Itself
8m55 End Titles-Bad Times and the El Royale Suite
 
Easy enough to add to the google doc
 
https://docs.google.com/spreadsheets/d/1VORekPbeZ5oT1t9930Jtmdu2iCQS1FMOQq_KszXfK7s/

Jim Titus IS the man, and that's a great idea!

I received some stuff in the mail Monday.
 
I’ll admit I got a bit misty eyed listening to the Helicopter Rescue, the clarity is stunning.

@Jay If I might kindly suggest: Why don’t you reach out to Jim Titus for an interview about his work process for the different John Williams releases.
 
The Second Disc published a story that goes into depth about the art created for the LLL E.T. release, including alternate cover art. I just love this article.
 
Jim Titus is as much part of these releases as Mike Matessino. I’m sure there’s lots to tell about the other JW-releases as well. And it’s a long list: CE3K, A.I., Hook, Jurassic Park, Schindler’s List, Saving Private Ryan, Empire of the Sun, 1941, The Fury, Home Alone Superman II/III & IV and now Superman.
 
Jim Titus is the Man.
 
...and it would be great to get to know more about the history behind the different releases.
 

Just finished my first listen of this, wrapping up all of my Christmas gifts after over two months.
 
wow!
 
I remember liking this when I saw the movie, but I am very impressed.  Almost makes me sheepish about how much I liked (and still like) his first Jurassic World, based on how big of a jump in quality this was.  Big moments, nice pacing with the gentler stuff, deft use of Williams’ themes (unlike the mangling in the first Jurassic World).  Maybe a little long, and a bit meandering in the middle, which is probably par for longer albums.  
 
Top tier, as Giacchino is concerned.  As big a jump as we saw from his first Apes score to his second. Almost enough to forgive him for the roteness of Incredibles 2!
 
(I’m going to listen a few more times this week, but this also clears the way for me to listen to my first post-Christmas purchase - Superman: The Movie!)

Lol one province away in New Brunswick and it’s $175 here.
AND you have to do it on paper form before you can find out if it’s taken. This is 2019 right?
 
still such a cool idea!

Thanks to the OP for alerting me to the fact that The Orville Soundtrack is available to purchase digitally! I had no idea. I'll definitely be getting this on download (at 1/6th of the price of the CD) and saving my hard earned dosh for titles that aren't available digitally, such as the aforementioned LLL Superman.

I make the call on a release-by-release basis.  Intrada's single disc physical releases for Marvel movies were $19.99+ shipping - I spent half that for the digital downloads.  I only had medium-level interest in those scores, though.
 
I spent that $19.99 on scores I knew I wanted on CD, though, like Up and Elfman's Oz score. 
 
So if not having this specific CD set is TEARING you, just splurge and buy it.  Save your money elsewhere, on scores that don't deserve a physical copy ;).

There is no “right” answer here, but if you’re not super into collecting psysical media, or if money is an issue, just get the digital online version.
 
Get lossless, 16-bit/44.1 kHz. No need to pay a premium for 24-bit/96 kHz as it is unlikely you’ll hear the difference (the benifit is mostly theoretical, not practical). Don’t buy mp3s, though.
 
Don’t let anyone guilt you into paying more to “support” labels. It seems to me you are an enthusiast who probably supports the “right” labels at any given chance.
 
But since you ask - and since you are choosing between two legal options - you should do what suits you best. We all have different lives, incomes, expenses and preferences. If you have the bucks and the preference to buy the CD, then buy the CD. If not, don’t feel guilty about it.
 
If a company succeeds or fails is not up to individual enthusiasts - it is up to the company to make good business decisions, to be attuned to trends, and to deliver a service that there is demand for.
 
Who actually knows, buying the digital version might actually create an incentive for Fox to strike a better with LLL so that, in the future, part of the revenue from online sales can go back to LLL for providing a superior product than Fox could have by them selves.
 
Unless you want the designed boxes, CDs and booklets to keep coming, then you’d have to keep buying the CDs.

This weekend my wife surprised me with this wonderful tribute
 
 

All I hear is the Devil's noise now.

If you buy the physical 2CD set of The Orville season 1, you support La-La Land, giving them some revenue to help fund future releases that might not come out at all otherwise, like perhaps The Orville Season 2.  You also get to read wonderful liner notes by Jeff Bond, in a booklet with very nice art design by Dan Goldwasser.
 
If you buy the digital version, you're only supporting Fox Records, as LLL has nothing to do with the digital release at all (other than them getting to sell the program Dan Goldwasser assembled for LLL, for free).  But you save some money, I suppose.
 
We have an expensive hobby, but I feel it is worth aligning your money to invest into it.

Digital. The allure of physical media is not worth the cost. Simple value proposition. 
 
But what digital album costs $25? USD or CAD?

Hopefully, you'll still be alive.

This would be my line of thinking. Going digital not only allows you to get both releases, it sends a message to whoever has digital distribution rights to The Orville that such digital releases are worth their time to release, while also allowing you to send a bit of support toward LLL via your Superman purchase.

I'm usually very psychic and I have a terrible feeling something awful is gonna happen to you. I'm afraid you're gonna die.

As I sat reading an article on John Williams this morning...I recognized my daily go-to pencil in his hand in this photo:
 

 
Ladies and gentlemen:
 
I’m not exactly sure if he is using .5, .7, or .9mm lead, but now you can pretend to be as cool as John Williams, and better yet, your beloved Blumenkohl. Not sure what brand turtle neck to wear and match though.
 
FWIW I use .5 mm. But I use a softer lead (2B) so it draws/writes thicker. My guess from the photo is that John alsouses .5mm.
 
https://www.amazon.com/Pentel-EXPRESS-Automatic-Pencil-QE415A/dp/B0026ZPWS2/jwfancom-20
 
Make sure you stick to the Express line. The other Pentel Twist lines have a gaudy/bougie silver tip that won’t match your black turtleneck.
 
Disclaimer: I appended what I think is the JWFan Amazon affiliate code to the URL above, so if you buy it, use that link and support JWFan. Maybe @Jay can verify link is correct?

Pics
 

 
Wont listen until it’s ripped and shuffled randomly onto my iPod, so can’t comment on the sound quality.

Hello everyone,
 
Here's part 2 of the podcast featuring Mike Matessino talking about the new SUPERMAN THE MOVIE release from La-La Land Records:
 
https://thelegacyofjohnwilliams.com/2019/02/25/mike-matessino-superman-part-2/
 
In Part 2, Mike talks more about the historical importance of the Richard Donner film and its unforgettable score, while also reflecting on the overall legacy of John Williams and his music. He also talks about the reconstruction of the 1978 original soundtrack album program and presents an excerpt of the previously unreleased cue “Fortress of Solitude (Alternate Segment)”.
 
IMPORTANT NOTICE: if you want to skip the preview of the alternate segment of “Fortress of Solitude”, go to the 7:15 minute mark after the introduction
 
I also made a downloadable version of the file.
 
Hope you all enjoy!

The Rhino release is Out Of Print.
 
The Blue Box is Out Of Print.
 
The full original OST program has never been legally sold in the USA.
 
Of course a release combining the complete score with the OST should be available for anyone to buy.
 
The fact it has improved sound and new alternates is just icing on the cake.
 
No one is forcing anyone to buy it, so no one really has the right to complain.  But this hobby is full of people who like to complain, and there are many outlets for them to complain at.

I was able to listen to this interview last night and really, really enjoyed it.
 
If anyone reading this isn't that interested in Superman so haven't bothered to check it out, rest assured that Superman is only a portion of what is discussed.  I really enjoyed what Mike had to say about Nick Redman, and the discussion about John's commitment to the Star Wars franchise, about John's fondness for working and recording scores in London, about the brass section of the LSO, and several other non-Superman topics.

The stories of what elements were used for the Rhino, FSM, and now LLL Superman were not new to me but it is wonderful to have this fascinating story preserved and in the public now.  I don't know if they'll go into more detail in part 2, but just hearing about how he now has access to each individual track of the original 24 track element, including the spot mikes around the recording room, and how it enables him to do a new mix different than the original 1978 mixes that have been used for every release of the film and soundtrack release is just fascinating to think about.
 
I loved the little tidbits Tim Burden chimed in with, like his description of how the Planet Krypton alternate was different and Maurice Murphy's unparalleled brass playing.
 
I feel like the audio interviews  Mike and Neil have been doing over the past ~5 years just keep getting better and better and I am very excited to hear part 2!

I could listen to hours of this stuff. 
 
Hell, I'd listen to a weekly MM podcast where he simply describes what he worked on that week. It's all fascinating to me.