KittBash

New podcast episode!
 
https://thelegacyofjohnwilliams.com/2024/01/19/bill-booth-podcast/
 
NEW EPISODE! L.A. STUDIO LEGENDS: BILL BOOTH John Williams has a deep affinity for all brass instruments, but did you know that he studied trombone when he was a teenager? Legendary studio musician BILL BOOTH tells all about playing 1st trombone in the Maestro's orchestra in Los Angeles for more than 30 years, including such scores as HOOK, JURASSIC PARK, INDIANA JONES and the STAR WARS sequel trilogy. Bill reveals the joys and the challenges of being John Williams' principal trombone, reflecting on the special quality of the Maestro’s music and also of his human side. LISTEN tinyurl.com/h3nht9pu Also available on major podcasting platforms   https://www.facebook.com/thelegacyofjohnwilliams/posts/pfbid02G28dK5LePBe7r5J46DfZPcwFqnN2CQoBLv8TmqxtLVbTPTKVi3QFyiqWVW6aTsdtl

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
 
 

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
 
 

Of course! 
I not only read them I digitize them (visual and text) for my digital collection so I can review/read them from anywhere. Then I comb through them for any timeline info

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
 
 

Beautiful 
 

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
 
 

Also thanks to this thread I am now scanning my liner notes into a text database. I would love to get them into really neat PDF's with OCRed text and still have the pretty pictures. But I don't know how to do that. So I'm using Google Lens and putting them into an Obsidian database so my old tired eyes can read them.
 
So far I've done Wrath of Khan and Eiger Sanction.

Still no artwork showing on any of the 4 websites that carry these.  What a strange thing this turned out to be
 
 
 

I think I've got a handle on all (?) the tracking in the final film - so going beyond the obvious "Helena's Tutorial" and "Voller's Interview" tracking in the early New York scenes that was mentioned forever ago.
 
First - has it been pointed out the end of Eels is replaced by Centipedes, and the opening of Centipedes is replaced by Eels?
 
1:21:39-1:23:30 (1:51) is supposed to be Eels, however:
1:22:47-1:23:30 (0:43) is tracked from Centipedes - compare to 1:46:31-1:47:18 Then 1:45:021:48:19 (3:16) is supposed to be Centipedes, however:
1:45:02-1:45:14 (0:12) is tracked from Eels - compare to 1:22:07-1:22:17  
 
Second - In Teddy Is Kidnapped, which runs from 1:39:04-1:41:56 (2:52), two portions are other things:
1:39:41-1:39:55 (0:14) is tracked from To The Airport - compare to 1:55:17-1:55:27 / 1:55:52-1:55:57 1:40:20-1:40:54 (0:34) is the wild recording Helena In Action, chopped up a bit (the complete cue is in OST track "Tuk Tuk In Tangiers" from 2:28-end)  
 
Third, I don't think anybody has pointed out that after Helena gets on board the plane and her theme plays as the landing gear door closes behind her, almost all of the music in the next almost 4 minutes (2:02:24-2:06:12) of screen time is tracked music?
2:02:24-2:02:59 (0:35) this is tracked in from Water Ballet - compare to 1:24:38-1:25:03 2:02:59-2:03:08 (0:09) brief section of no music 2:03:08-2:03:36 (0:28) this is tracked in from Melting Wax - compare to 1:34:49-1:35:03 2:03:36 -2:03:47 (0:11) this is tracked in from Centipedes, I believe 2:03:47-2:04:09 (0:22) this is tracked in from Water Ballet, I believe 2:04:09-2:04:38 (0:29) this is tracked in from Helena’s Tutorial - compare to 1:32:52-1:33:18 2:04:38-2:05:18 (0:40) this is Through The Portal, the only music in this entire section that was meant to be here! 2:05:18-2:05:32 (0:14) brief section of no music 2:05:32-2:05:44 (0:12) this is tracked in from Ancient Syracuse - compare to 2:09:23-2:09:29 2:05:44-2:06:12 (0:28) this is tracked in from  Water Ballet - compare to 1:25:48-1:26:12  
Finally, Ancient Syracuse should run from 2:06:43-2:11:56 (4:53), but two sections are replaced by tracked music:
2:10:22-2:10:39 (0:17) is tracked from Through The Portal - compare to 2:04:38-2:05:18 2:10:51-2:10:58 (0:07) is tracked in from Confrontation At The Tomb - compare to 1:54:30-1:54:38  
Phew!  If anybody has any better timestamps or any other commentary, please let me know!
 
(I think some of this tracked music actually contains music that was cut from the scene it was intended for!)

Using all of the available information we have so far, I've gone ahead and drawn a preliminary sketch of what the artifact might look like.
 
This may contain story spoilers, so click at your own risk!
 
 

It was interesting to see the harp positioned immediately in front of the conductor for the violin concerto, given its prominent role in the work.  It reminded me of those old photos of Max Steiner or Alfred Newman in front of some Hollywood studio orchestra from back in the day.  I have yet to explore the second violin concerto beyond a couple of listens all the way through, but hearing it live certainly whetted my appetite for diving deeper into it.
 
This was my first time seeing Anne-Sophie Mutter play live so it was also my first live experience of any of the pieces which Williams has arranged for her.  I would say that the pieces from The Long Goodbye and Cinderella Liberty worked best for me, possibly because Mutter's style of playing has quite a breathy, flautando quality to it which is not always to my taste but very much suits those two jazzy, vocal pieces.
 
As Tom mentioned above, it seemed a pity that the concert could not have closed with more orchestral Williams, as great a score as Leonard Bernstein's On the Waterfront is.  I felt a little sorry for the horn player who flubbed a couple of notes in his first two solos, although I am not sure most people other than pedantic film music geeks like me would have noticed.  It is amazing to think that John Williams gave the London premiere of his symphony in the same venue more than fifty years ago, with Bernard Herrmann in the audience!
 
I grabbed a few photos for the record.
 

 

 

 

 

I’m pretty sure the Arnold scores were recorded at AIR Studios in London. 
 
https://composer.spitfireaudio.com/en/articles/air-studios-the-recording-destination-for-countless-iconic-scores

Really looking forward to hear McCreary & co's music! It looks like it's going to be an epic season and I think he did such a great job in the first season, with lots of memorable themes that I hope come back in one way or another!

Finally got around to making a TFA spreadsheet:
https://docs.google.com/spreadsheets/d/1MvXA-RzLbR3XjQlLgUHPhbNkF14tojHCJ1rrVZxEMNQ/edit

I forked this from @Jay's old one, deleted the simple breakdowns and redid the complete score breakdown from scratch. I also added @BrotherSound's FYC breakdown, as well as my own isolated score breakdown which is still a work in progress. 

Also speaking of chronology, I dunno if you want to factor this in or not, but the melody of Mothers was written in the 80s while working on the Spielberg Peter Pan musical movie that never happened with the Bergmans. When the song was brought into the Hook project, Leslie came up with his own lyrics for the melody.

I was super happy to get the 2 Disc edition of this score for Christmas this year and wow am I happy with it. 
 
These scores always seemed like the more sophisticated bigger sibling to Bear's Masters of the Universe work which I seem to keep spinning over and over again so I'm down for as much of both properties he wants to give us... and that Gladrials theme, I swear won't get out of my head since this score dropped in 2022. So every time I want to get some Gladrial Theme hit in my system that Sheet @Jay did with all the theme placements has been my guide!  

I was super happy to get the 2 Disc edition of this score for Christmas this year and wow am I happy with it. 
 
These scores always seemed like the more sophisticated bigger sibling to Bear's Masters of the Universe work which I seem to keep spinning over and over again so I'm down for as much of both properties he wants to give us... and that Gladrials theme, I swear won't get out of my head since this score dropped in 2022. So every time I want to get some Gladrial Theme hit in my system that Sheet @Jay did with all the theme placements has been my guide!  

I was super happy to get the 2 Disc edition of this score for Christmas this year and wow am I happy with it. 
 
These scores always seemed like the more sophisticated bigger sibling to Bear's Masters of the Universe work which I seem to keep spinning over and over again so I'm down for as much of both properties he wants to give us... and that Gladrials theme, I swear won't get out of my head since this score dropped in 2022. So every time I want to get some Gladrial Theme hit in my system that Sheet @Jay did with all the theme placements has been my guide!  

All positive and negative opinions on music and media are welcome!  Just don't make being negative your entire persona.  That seems fair to me!
 
And yeah, doing it in an Appreciation Thread was a big no-no!  Violations in those specific threads have always been treated significantly more swiftly and severely!

Yes, the current information on JWFAN stems from me back in the day, I believe, and bits are outdated now. Doing a complete revamp is a bit too much at the moment (anyone willing to listen to the podcast and adjust the details are welcome to do so!), but just a few quick notes:
 
- I'd remove "Dukakis" and "Liberty Weekend", as these are event pieces.
 
- Remove THE COWBOYS - we now know they didn't use Williams' theme for the TV series.
 
- Add that SERGEANT RYKER is an adaptation of "The Case Against Paul Ryker" from KRAFT
 
- Remove KRAFT SUMMER MUSIC HALL
 
- Remove VOYAGE TO THE BOTTOM OF THE SEA
 
- Remove BIG G
 
- There is no original soundtrack recording for ALCOA. Only the theme is released, on THEMES TO REMEMBER.
 
- A couple of things need to be added - BREAKING POINT, MARKHAM, CBS PLAYHOUSE, INSIDE THE MOVIE KINGDOM, AND BABY MAKES THREE...
 
- Many of the episode counts are wrong. 4 episodes for TAMMY GRIMES, not 10. 9 for WAYNE AND SHUSTER, not 5. Etc. etc. It would take me some time correcting all of these.
 
Maybe I'll find some time later to be a bit more comprehensive.
 
 

Part 2 was another great round table discussion! Bravo.
 
It brought the songs to another level for me for sure. Yes I was always curious about them but the score was THE reason I was there. I certainly listened to them when I got the set but hearing the group go through them really made me listen again so thanks! Like several folks mentioned Hook is something we keep finding new things in 30+ years later.
 
Now did my ears deceive me or was there a part III alluded to ?? Maybe it was just discussion of "oh if we ever did a part III..." but I'm down for as much time as you guys want to record and edit Either way as usual these episodes are a gift that I keep coming back to time and time again. 

My colleague has returned from Spain and pressed fresh copies of Heidi/Jane Eyre and The Long Goodbye into my trembling, expectant hands. I'd only just started to get over the excitement of Hook, too.
 
Thoughts on Heidi? Certainly better than the mid-90s LXE release that I've had for nearly thirty years but not listened to much. Am I right in gleaning from earlier threads that the LXE was sourced from the narrated album but with the narration removed, plus suffered from some looping of the music to fit the narration? It's a good fun score even though, like so many releases from back then, it's very short indeed and many tracks leave me wanting more. Mind you, my loss is @Thor's gain in that area, I'm sure.
 
Jane Eyre, though, is really good. This is the first release of it I've had, so it's a new discovery for me. What a lovely main theme. I can see why it seems to be one of JW's favourites.
 
Mark

On those expansions (and other ones such as the 2012 edition of Star Trek: The Motion Picture), DD's credit was "Executive Producer for Sony Music", which is more of a contractual thing that really just means he was the boss of the people at Sony Music who did their part on those titles.  It doesn't mean he had any sort of creative input into how the music is presented, like he had on the 2012 edition of Hook which is why he's listed as the main producer on that one.
 
After Didier's tenure at Sony Music nobody has taken a similar capital letter Executive Producer credit on specialty label expansions - instead individuals are now listed.  In the Close Encounters expansion from 2017 there's a block for Sony Music with 8 people listed, by recent titles like Spider-man and 2023 Hook the Sony Music guys are in the special thanks. 

Finally got a chance to listen to the Hook episode! 
 
I always love when Mike M. says something along the lines of I don't know if anyone cares to hear this.... then he proceeds to blow my mind!