KittBash

OK this man takes on too many projects and is surely one of the richest composers ever

Roger updated his December list
 
Old:
 
 
New:
REVISED!
As we head into 2024 here's a sneak peak at some composers in our lineup: James Horner, Danny Elfman (lord help us), Jerry Goldsmith, John Williams, Marco Beltrami & Co., Christopher Young, James Horner, Christopher Young, Charles Fox, Jerry Goldsmith, Dimitri Tiomkin, Ilan Eshkeri, John Barry, James Newton Howard and a whole lot more...
 
https://www.facebook.com/groups/95015405220/posts/10168621080225221/
 
(bolding is mine)

Here it is!
 
 

I've never sat down with my phone, caught up on a thread and been so happy once second, clicked to the next page, and was so instantly bummed out the next!...... ugh

Multiple reports say that it's not true
 
 

Kevin Conroy Recorded Lines for 'Batman: Caped Crusader' Prior to His Death

No Masters Of The Universe tomorrow😡
 
Let's hope they just need time for the album to be ready and that they're not ignoring it. Would be weird for McCreary to do

https://www.bso.org/events/tanglewood-on-parade-2024
 
Boston Symphony Orchestra
Boston Pops Orchestra
Tanglewood Music Center Orchestra
Keith Lockhart, John Williams, and Anna Rakitina, conductors
 
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This was a lot of fun last year, it's an all-day festival with lots of great performances, including a quick set from Williams.
 

https://www.bso.org/events/john-williams-film-night-2024
 
Boston Pops Orchestra
John Williams and Ken-David Masur, conductors
John Williams’ Film Night
A beloved highlight of the Tanglewood season, John Williams’ Film Night returns! From Hollywood’s golden age to contemporary favorites, conductors Williams and Masur lead the Boston Pops in two memorable evenings of music and film clips, including a special celebration of Henry Mancini’s 100th birthday!
 
Tickets will be available on Mar 19, 2024 at 10:00am EDT.
 
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It's happening!!!
 
Once again the same weekend as the Newport Jazz Festival. But I'll deal with it somehow!

I didn't realize he had married Andrea Datzman!

I believe that John Williams recorded a concert arrangement of the various Nazi themes from the Dial of Destiny score, titled "Nazis", but then didn't include it on the OST album.
 
 
 
For a bit of background, there's a German publishing rights organization known as GEMA (Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte), who makes their list of entries public, via an online search:
 
https://online.gema.de/werke/search.faces?lang=en
 
There is lots and lots of music listed in there, from all genres, from all types of media.  Many films have their Cue Sheets uploaded into it, to officially secure the publishing rights for every film score composition that is in the film - often OST albums will also be uploaded separately, covering all music released in both places.
 
The nice thing when that happens is that it gives us all the original cue names (or at least, the names that they put on the cue sheet, which doesn't always match when was put on top of sheet music), though it hardly ever gives us the reel/part numbers.  Also the search results can be sorted by chronological appearance by copying the "Publisher Work Code" attached to each cue name and then sorting by that field.  Note that this only sorts the cues by their first appearance in the film - even if that appearance was tracked music.  @CGCJ already sorted them by that field when he posted the Dial of Destiny cue names found in GEMA here.
 
This chronological sort gives us a few pieces of information right off the bat - namely that Helena's first scene is entirely scored by tracked music ("Helena's Tutorial" from later in the film), same with Voller's first New York scene (more on that later), a bit of "Centipedes" is tracked in near "Eels", etc.

But one thing I also noticed is that it provides an additional note for all cues that appear in the end credits assembly. For example, if you click open  a cue that is not in the end credits looks like this:
 

 
While a cue that is in the end credits looks like this:
 

 
 
So overall, there are 6 cues listed as being in the end credits assembly:
Nazis To The Airport Raider's March - JR Edit Helena's Theme Rev 2 Helena's Theme Rev End Credits Part 3  
Now, the final 4 cues on that list are obvious.  In the film, the main credits are scored by "Raiders March -JR Edit" (which incidentally Williams conducted in New York before the film even came out), then the scrolling credits are scored by the piano intro of "Helena's Theme" (Rev 2), then the rest of "Helena's Theme" (Rev), then "End Credits Part 3" (the suite we hear in OST track 1 from 1:08-end).... right?
 
Well, it turns out yes, but actually no.
 
Many fans have noticed that the film features an "extension" in the "End Credits Part 3" part that isn't in the OST track.  Specifically, what you hear in OST track 1 from 2:30-2:37 is replaced in the final film by about 49 seconds of... something else:
 
 
Well what is this mystery music?  The logical guess was that it was music he simply snipped out of the OST version for an improved listening experience.  However, after a while it occurred to me that no, this is actually an alternate opening of the "Through The Airport" sequence!  This piece starts with about 8 seconds of racing strings that leads into Helena's theme, which gives way to a sort of wondrous moment, before snares lead us to Voller's theme.  The opening of the "Through The Airport" film version, by comparison, has 8 seconds of different racing strings that give way to a different performance of Helena's theme, which leads to timpani instead of snares, and then non-thematic passage instead of Voller's theme.  But the vibe is very similar between both pieces, so it seems pretty clear to me that's what this music is.
 
We know that the film version opening of the scene is actually the specific cue "To The Airport (Patch 2)" - we know this because a piece of it was tracked into the "Teddy Is Kidnapped" sequence, so it appears there chronologically in the GEMA list.  So when I finally remembered the whole GEMA end credits thing and I saw "To The Airport" listed the way it is, I realized that some piece of this version is still in the scene, and then another piece is inserted into the end credits to extend the run time, explaining why it isn't in the OST version.
 
 
OK, so that explains "To The Airport", but what is "Nazis"?
 
Well, due to its GEMA sorting order, we know it appears in the film after the tracked usage of "Voller's Interview" that scores the New York scene where the waiter brings him food.  Careful listening led to me realize that almost all of that scene is "Voller's Interview", so therefore only the very end could be "Nazis":
 
 
OK, well that bit doesn't appear in the end credits, right?  Well after listening to the end credits for a while, I had the realization that the opening 34 seconds or so of what we thought was "End Credits Part 3" is a different recording than the rest.  And then it dawned on me that THAT must be the START of "Nazis", and the bit tracked into the waiter scene is the end!
 
And luckily both parts of this lost concert arrangement are on the OST album too.  The start in OST track 1"Prologue" from 1:07-1:41
 
 
And the end in OST track 3 "Voller Returns" from 2:40-end.
 
 
 
The interesting thing is that the way "End Credit Part 3" starts after that opening taken from "Nazis" doesn't sound like a good opening on its own, so its likely that what happened is he wrote it knowing that the opening bars of "Nazis" would be re-used, instead of having to nail a performance of them all over again when everybody already liked what was already recorded.  And that also probably explains why this concert arrangement isn't on the OST album, it probably has a lot in common with the first half of "End Credits Part 3" that also covers all the Nazi themes.
 
Phew!
 
 
TL;DR: I think Williams wrote a concert arrangement called "Nazis", but we only have heard about a minute of it, the beginning part being in OST track 1 "Prologue", and the ending being in OST track 3 "Voller Returns"

@Swanny There is indeed a J. Archer credited in the Fiddler 50th liner notes. 
So far it’s the only instance I have found but we only really have the specialty labels liner notes to go on and the London lists are few and far between. The lists must exist somewhere. 
 
here’s. A photo of the violins listed on Fiddler. 
 

@Swanny There is indeed a J. Archer credited in the Fiddler 50th liner notes. 
So far it’s the only instance I have found but we only really have the specialty labels liner notes to go on and the London lists are few and far between. The lists must exist somewhere. 
 
here’s. A photo of the violins listed on Fiddler. 
 

The last solo CD I bought, Hook, I paid almost the same price in shipping fees as the CD itself. I won't do that again, but ordering CDs in bulk (outside the Black Friday/End of year window) is becoming increasingly difficult due to those annoying 'Out of stock' issues.

Additionally here's a TLJ spreadsheet:
https://docs.google.com/spreadsheets/d/1Vpq5zjRXngkW0GfCsna4ZM4xVX7UNgRCTYprn5HePbM/edit
 
This one is pretty much complete, I still haven't finished writing in the track names and lengths and stuff for the isolated on the complete score tab but otherwise all the info is in there. There are just a couple unknowns in the isolated score tab if anyone wants to help with those, but the rest is accurate.
 
And here's a TROS one:
https://docs.google.com/spreadsheets/d/1X-HjbqyhRfq5f8w-2DNUYoGWtBf9CbmfTu_RrtWhdfM/edit
 
For the TROS one there is currently only an FYC breakdown and the final cut breakdown, which were taken directly from information kindly provided by @BrotherSound. I do also plan on porting over the Nov 11th cut info from Jay's spreadsheet, I just haven't gotten around to it yet. I opted not to include an OST breakdown yet as it's mostly just guesswork without the sheets and likely inaccurate.

I was thinking of placing a meaty order on SAE as I have a few titles to catch up, but this has disappeared from their website. I checked on LLL and it's showing as out of stock: any idea when this could be back?

Huh? Genuinely puzzled by this. The award isn’t for the composer who reaches/tops their previous work; it’s for the best score of a given year… It’s entirely possible for JW to write a score that “doesn’t reach the heights of his most classic works,” and for that score to still happen to be better than the other contenders...

Amazing how every Lucasfilm movie JW has scored since the Disney acquisition has received an Oscar nomination. They're getting a solid return on investment.
 
Would be nice if someone at Disney Records had the bright idea of monetizing all that free publicity with score expansions...

OK I've gone through the entire film and identified everything now, and even noted down timestamps that include miliseconds you can use to identify everything
 

  Start End Length Cue 1 00:00:45.546 00:03:30.749 2:45 American Spy 2 00:03:36.297 00:03:55.440 0:19 American Spy {Continued} 3 00:03:58.209 00:04:25.446 0:27 Bombs Away! 4 00:04:25.446 00:05:20.312 0:55 Bombs Away! {Continued} 5 00:05:42.062 00:08:54.394 3:12 Indy Driver 6 00:09:38.019 00:09:49.147 0:11 Indy Driver {Continued} 7 00:09:49.147 00:13:58.975 4:10 It's A Fake 8 00:13:58.975 00:16:20.899 2:22 Indy Rescues Baz 9 00:16:48.100 00:19:35.706 2:48 Combat Train-ing 10 00:19:35.706 00:21:47.866 2:12 Jump 11 00:27:00.048 00:27:39.320 0:39 [TRACKED] Helena's Tutorial 12 00:28:15.133 00:30:07.211 1:52 [TRACKED] Voller's Interview 13 00:30:07.211 00:30:28.528 0:21 [WILD] Nazis 14 00:32:38.048 00:33:09.324 0:31 I'm Not Selling This, Am I? 15 00:33:09.324 00:37:55.386 4:46 The Archives 16 00:37:55.386 00:40:45.800 2:50 Helena Runs 17 00:43:02.027 00:45:31.271 2:29 Pulse Of The City 18 00:46:35.168 00:48:17.750 1:43 Voller's Interview 19 00:48:17.750 00:49:11.480 0:54 Sallah To The Rescue 20 00:50:36.642 00:52:03.599 1:27 Departures 21 00:52:40.641 00:53:44.616 1:04 It Must Be Destroyed 22 00:53:44.616 00:54:45.183 1:01 To Morocco Again 23 00:56:52.260 00:58:20.268 1:28 Indy Recognizes Professor Schmidt 24 00:58:20.268 00:58:44.861 0:25 Doing Helena's Bidding 25 00:58:44.861 01:00:09.494 1:25 Rossini's Menu 26 01:00:26.661 01:01:31.711 1:05 Rahim Arrives 27 01:01:31.711 01:02:04.321 0:33 You Don't Need Me? 28 01:02:04.321 01:03:49.838 1:46 Streets Of Morocco 29 01:03:54.519 01:08:16.575 4:22 Tuk Tuk Chase 30 01:09:37.906 01:10:59.945 1:22 Airplane Mutiny 31 01:13:12.050 01:14:39.576 1:28 To Athens 32 01:15:11.235 01:16:22.196 1:11 Sunken Ship 33 01:19:26.994 01:20:18.192 0:51 Indy's Regret 34 01:21:39.081 01:22:46.543 1:07 Eels 35 01:22:46.543 01:23:28.220 0:42 [TRACKED] Centipedes 36 01:23:39.751 01:28:37.461 4:58 Water Ballet 37 01:29:24.968 01:30:36.524 1:12 Polybius Cipher 38 01:30:36.524 01:33:25.295 2:49 Helena's Tutorial 39 01:33:25.295 01:34:07.331 0:42 Escaping the Boat 40 01:34:49.198 01:36:19.348 1:30 Melting Wax 41 01:36:19.348 01:36:35.260 0:16 [TRACKED] Archimedes' Tomb 42 01:36:35.260 01:37:18.562 0:43 Melting Wax {Continued} 43 01:39:03.444 01:39:40.383 0:37 Teddy Is Kidnapped 44 01:39:40.383 01:39:54.756 0:14 [TRACKED] To The Airport 45 01:39:54.756 01:40:19.523 0:25 Teddy Is Kidnapped {Continued} 46 01:40:19.523 01:40:53.349 0:34 [WILD] Helena In Action 47 01:40:53.349 01:41:55.358 1:02 Teddy Is Kidnapped {Continued} 48 01:42:17.904 01:43:07.480 0:50 The Crescent 49 01:43:18.681 01:44:27.352 1:09 The Crescent {Continued} 50 01:45:02.178 01:45:14.014 0:12 [TRACKED] Eels 51 01:45:14.014 01:48:18.369 3:04 Centipedes 52 01:48:18.369 01:49:44.231 1:26 Handcuffed 53 01:49:50.236 01:52:27.339 2:37 Archimedes' Tomb 54 01:52:27.339 01:55:07.686 2:40 Confrontation At The Tomb
55 01:55:07.686 01:56:37.322 1:30 To The Airport 56 01:56:37.322 01:58:19.925 1:43 To The Airport Part 2 57 01:58:19.925 02:02:23.931 4:04 Airport Nazis 58 02:02:23.931 02:02:59.486 0:36 [TRACKED] Water Ballet 59 02:03:08.144 02:04:38.263 1:30 [TRACKED] Melting Wax,Centipedes,Water Ballet,Helena's Tutorial 60 02:04:38.263 02:05:17.953 0:40 Through The Portal 61 02:05:32.378 02:06:11.570 0:39 [TRACKED] Ancient Syracuse,Water Ballet 62 02:06:11.570 02:06:42.033 0:30 Planes In Trouble 63 02:06:42.033 02:09:45.853 3:04 Ancient Syracuse 64 02:10:07.981 02:10:22.183 0:14 Ancient Syracuse {Continued} 65 02:10:22.183 02:10:57.526 0:35 [TRACKED] Through The Portal,Ancient Syracuse,Confrontation At The Tomb 66 02:10:57.526 02:11:55.492 0:58 Ancient Syracuse {Continued} 67 02:11:55.492 02:17:40.520 5:45 Centuries Join Hands 68 02:19:23.330 02:20:15.427 0:52 For Who... Whom? 69 02:21:57.172 02:23:23.181 1:26 Finale 70 02:23:23.181 02:25:19.382 1:56 Raiders March 71 02:25:19.382 02:28:44.005 3:25 Helena's Theme 72 02:28:44.005 02:29:18.309 0:34 [WILD] Nazis 73 02:29:18.309 02:30:06.144 0:48 End Credit Part 3 74 02:30:06.144 02:30:55.348 0:49 [TRACKED] To The Airport 75 02:30:55.348 02:34:19.563 3:24 End Credit Part 3 {Continued}  
Updated the Google Doc as well
 
https://docs.google.com/spreadsheets/d/1gLWlWGQDU2sjQtm83qAu9pgDTlEMSH7smeWw5zZwqHs/
 
And if anybody uses command line ffmpeg this will split the iso score into correctly named tracks for you
 
 

It's Michael Giacchino!!!
Personally, I couldn't be happier!
 

Should I buy it? I mean, I've already bought it, but for the sake of argument, should I?
 
Also, I guess there's some sort of badge of honor I get? When can I get that attached to my username somehow?

This is out and uploaded now!
They talk about the production, Steven, Robin, Bob, the choreography, John Williams, and for a surprise at the end,
 

Similar to @Datameister's thought, Though it may not be definitive Page 26 of Chris Malones often cited and excellent "Recording the Star Wars Saga" Has some great insight on the sound of the Jedi SE's. Below is just a snippit. 
https://www.malonedigital.com/starwars.pdf