karelm

How about Joel Mcneely's Star Wars Shadows of the Empire?  Yes, yes, it is a video game score but a solid OST.  But then I guess you'd have to include Gordy Habb, et al. 

That is Dick Powel singing "I Only Have Eyes For You" by Harry Warren and Al Dubin. 
 
The orchestral backing is newly recorded by JW for the film. 

Remember the leaked scores are not definitive.  JW makes many changes on the stand and it might only be during a full review of the score and final recorded materials that updates are made if they are doing a Star Wars in concert type of thing.  Somebody has a job of flushing through the recordings and updating the scores accordingly.  For example, there was a scenario in The Last Jedi where a melody was given to six horns but on the stand, JW asked to try it as a solo and that is what they kept so the sheet music will indicate six horns but the film has solo horn. 

He was a very nice man and fellow astronomy enthusiast.  I met him a few times and found him lovely and talented.  RIP.

Remember the leaked scores are not definitive.  JW makes many changes on the stand and it might only be during a full review of the score and final recorded materials that updates are made if they are doing a Star Wars in concert type of thing.  Somebody has a job of flushing through the recordings and updating the scores accordingly.  For example, there was a scenario in The Last Jedi where a melody was given to six horns but on the stand, JW asked to try it as a solo and that is what they kept so the sheet music will indicate six horns but the film has solo horn. 

I also think they are doing this thing where it begins as source music but ends as score.  Remember by the military fight sequence at the end of the dance, it is full on score.

There is clearly more compression between 1993 and 2018.  I generally prefer less compression in orchestral music of this style.  Compression during the mix/mastering stage means the floor of the volume will be raised so sometimes that can introduce hiss and ambient noises that were previously unnoticed.  Generally speaking, a skilled mixer will use a multi-band compressor so it doesn't just raise all frequencies the same way because that isn't how instruments get loud.  Some frequencies you might not want to raise as much as other frequencies.  I haven't yet listened to any of these yet because Spotify compresses (now talking about the audio fidelity, not the mastering compression) the audio so I don't consider that an audiophile experience and haven't decided if I'm going to get this since I've purchased these damn soundtracks for the umpteenth time every time they come out with a new and improved version only to find out it solves some problems and introduces some new ones.  I am still on the fence about these.

I like Mike's interpretation:
 
 
http://www.jwfan.com/?p=929

Always two there are, no more, no less.

There is clearly more compression between 1993 and 2018.  I generally prefer less compression in orchestral music of this style.  Compression during the mix/mastering stage means the floor of the volume will be raised so sometimes that can introduce hiss and ambient noises that were previously unnoticed.  Generally speaking, a skilled mixer will use a multi-band compressor so it doesn't just raise all frequencies the same way because that isn't how instruments get loud.  Some frequencies you might not want to raise as much as other frequencies.  I haven't yet listened to any of these yet because Spotify compresses (now talking about the audio fidelity, not the mastering compression) the audio so I don't consider that an audiophile experience and haven't decided if I'm going to get this since I've purchased these damn soundtracks for the umpteenth time every time they come out with a new and improved version only to find out it solves some problems and introduces some new ones.  I am still on the fence about these.

I also love it when Williams mixes triplets into duplet-passages...with his sense of flow, I think Williams would make an interesting rapper.
 
 

This is one of the all time best action cues JW has ever composed.  It is just so full of dynamism, perpetual motion, virtuoso writing, musicality...

Nice idea for a thread!
 
Williams sure loves his 6/8 scherzo-type passages, in fact it's probably one of his most easily identifiable action tropes. Common stye features include loping dactylic (long-short-long) rhythms (more common at slower tempi), octave coupling (can sometimes span up to 5 octaves) and a free interchange between 3-3 and 2-2-2 subdivisions of the meter. 
 
 
 

This is one of my favorite sections and full of triplet strings:
 

This is one of my favorite sections and full of triplet strings:
 

He was a very nice man and fellow astronomy enthusiast.  I met him a few times and found him lovely and talented.  RIP.

Excellent program!  I had no idea that "The Fury" was a tribute to Herrmann.  To me it sounds so much like vintage Williams but with this understanding, I do hear a few Herrrmannisms but it is all through JW's sophisticated dialect. 

It used to be much, much worse. Like full scores of great scores by Rozsa, Newman, Tiomkin, etc being thrown away after the scoring session.  Imagine the treasures to be found in a Los Angeles landfill. All of Rozsa's MGM scores were tossed.  Some of his sketches may have survived (I think they're at Eastman) but not the full orchestrations. Anyone doing those now would have to rebuild them from piano conductor scores or takedowns. Herrmann's slightly different because he orchestrated everything himself and much (but not all) of that has survived. Virtually none of the Korngold sketches exist; but the orchestrations done for the WB pictures survive because WB saved everything.  They just didn't see these having a life beyond the work they had just completed.  So it ended up in the trash heap.  At least now, somewhere everything is digital.  Even if John Williams works by hand, it is sent to JKMS and digitized then typeset so digitally archived. 

Check out this great article with lots of pictures of James Horner's studio
 
http://jameshorner-filmmusic.com/visit-studio-james-horner/

The true crime over the years, though, was his hair.

This suggests otherwise.

UPDATE: April 12, 2018
 
LOST IN SPACE, READY PLAYER ONE, MAX & ME AND MORE NEW SOUNDTRACKS
http://www.cinematicsound.net/lost-in-space-ready-player-one-max-and-me-and-more-new-soundtracks/
 
On this week’s episode of CINEMATIC SOUND RADIO, we will be featuring six new and recent soundtrack releases.You’ll first hear exciting music from Alan Silvestri’s score to Steven Spielberg’s READY PLAYER ONE. You’ll also hear selections from Mark McKenzie’s MAX & ME, James Newton Howard’s RED SPARROW, Ludwig Goransson’s BLACK PANTHER, Christopher Lennertz’s LOST IN SPACE and Bear McCreary’s THE CLOVERFIELD PARADOX.
 
Our John Williams score of the week is THE FURY released in 1978. And our re-recording of the week the unused score to 2001: A SPACE ODYSSEY by Alex North featuring conductor Jerry Goldsmith and the National Philharmonic Orchestra.
 
Enjoy!
 
The show is available via iTunes, Google Play & Stitcher
http://apple.co/29zAyyL | http://bit.ly/1ZrG6Lf | http://bit.ly/2bIQlM3
 
Cinematic Sound Radio Affiliates
http://www.wrockradio.com | http://www.moviescoreradio.com
 
Co-Host of Tracksounds The Soundcast Stereo
http://www.thesoundcast.blogspot.ca/
 
Social Networks
http://www.facebook.com/cinematicsound | http://www.twitter.com/cinsoundradio
 
Enjoy!
 
-Erik-

In honor of the Easter season, there is a very fine and dramatic new Easter cantata by a composer I hadn't heard before named Franghiz Ali-Zadeh and her Passion cantata premiered in 2017 which I think is excellent.  The rest of the recording is very good too but I don't know how to link to her work only and it isn't on youtube.  She starts on track 8.
 

Much more importantly, you look like Thomas Middleditch.