karelm

Nah, JW's 85 is like an ordinary mortals 65.  His brain and endurance is top notch and he is so revered by the suits that he gets to review all music from projects he isn't attached to if it deals with Star Wars music.  Gordy Haab said all music for Battlefront II had a six week review cycle which included 2 weeks for the game developers, 2 weeks for Disney, and 2 weeks for John Williams if he wanted to review any of it.  He is still very much involved in any detail he cares to weigh in on. 

Nah, JW's 85 is like an ordinary mortals 65.  His brain and endurance is top notch and he is so revered by the suits that he gets to review all music from projects he isn't attached to if it deals with Star Wars music.  Gordy Haab said all music for Battlefront II had a six week review cycle which included 2 weeks for the game developers, 2 weeks for Disney, and 2 weeks for John Williams if he wanted to review any of it.  He is still very much involved in any detail he cares to weigh in on. 

Nah, JW's 85 is like an ordinary mortals 65.  His brain and endurance is top notch and he is so revered by the suits that he gets to review all music from projects he isn't attached to if it deals with Star Wars music.  Gordy Haab said all music for Battlefront II had a six week review cycle which included 2 weeks for the game developers, 2 weeks for Disney, and 2 weeks for John Williams if he wanted to review any of it.  He is still very much involved in any detail he cares to weigh in on. 

Nah, JW's 85 is like an ordinary mortals 65.  His brain and endurance is top notch and he is so revered by the suits that he gets to review all music from projects he isn't attached to if it deals with Star Wars music.  Gordy Haab said all music for Battlefront II had a six week review cycle which included 2 weeks for the game developers, 2 weeks for Disney, and 2 weeks for John Williams if he wanted to review any of it.  He is still very much involved in any detail he cares to weigh in on. 

Nah, JW's 85 is like an ordinary mortals 65.  His brain and endurance is top notch and he is so revered by the suits that he gets to review all music from projects he isn't attached to if it deals with Star Wars music.  Gordy Haab said all music for Battlefront II had a six week review cycle which included 2 weeks for the game developers, 2 weeks for Disney, and 2 weeks for John Williams if he wanted to review any of it.  He is still very much involved in any detail he cares to weigh in on. 

I can neither confirm nor deny reports that I spent the other day driving around Tujunga and Porter Ranch, visiting filming locations while blasting this release through my car's speakers.
 
 

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Product Specifications 
Lost in Space: The Complete John Williams Collection - Exclusive Vinyl Box Set Officially-licensed Lost in Space merchandise  A ThinkGeek exclusive from our friends at Spacelab9 2 hours and 36 minutes of music from the classic show Discs are shades of purple, blue, green, and orange to match the aesthetic of the show Sleeves feature photos from the show and notes about the episodes featured
TRACK LISTING

Disc 1 - The Reluctant Stowaway [Total Time: 39:04]

SIDE A:
1. Main Title Theme (Season One and Two) 
2. Smith’s Entrance (2:28)
3. Judo Chop (1:43)
4. On the Pad (0:46)
5. The Good Doctor (1:13)
6. Preparations (1:12)
7. Final Countdown (4:07)
8. Escape Velocity / Robot Control (3:35)
9. Meteor Storm (3:11)
10. Defrosting / Log Book (2:04)

SIDE B:
11. Weightless Waltz (3:23)
12. Bumper (Season One and Two)* 
13. Robot Play-on / Doctor & Boy (2:17)
14. The Monster Rebels (3:30)
15. Message for President (0:53)
16. A Walk in Space / To Be Continued (6:47)
Bonus Track:
17. End Title Theme (Season One and Two) 

Disc 2 - Island in the Sky [Total Time: 39:02]

SIDE C:
18. Strange Planet / Suiting Up (2:49)
19. John’s Descent / John’s Fall (2:44)
20. Rescue Orbit / Helmet it / Group Play-On (2:27)
21. Stranglehold (3:12)
22. The Landing (3:14)
23. Lil Will and the Robot (1:31)
24. Search for John (4:14)

SIDE D: 
25. Monkey’s Doo (4:54)
26. Operation Rescue / Personal Chauffeur (1:40)
27. Tractor Play-On / Electric Sagebrush (1:05)
28. Watch & Learn / Keeping House (2:54)
29. The Bad Doctor / Will is Threatened (1:58)
Bonus Tracks: 
+ Library Cues from The Reluctant Stowaway **
30. Smith’s Entrance (2:48)
31. Meteor Storm (2:40)
32. End Title Theme (Alternate Version) (Season One and Two) 

Disc 3 - The Hungry Sea [Total Time: 38:35]

SIDE E:
33. The Earthquake (2:46)
34. Chariot Titles (1:07)
35. Temperature Dropping / Nature’s Display / Fahrenheit A Go-Go (2:19)
36. The Chariot Continues (1:12)
37. Boring Company (2:13)
38. I, Messenger (1:41)
39. Don’s Ray (0:22)
40. Space Bridge / John’s Temper (2:33)
41. Warming Rays / Sun Storm (3:02)
42. Morning After (3:14)

SIDE F:
43. The Inland Sea (2:17)
44. Land Ho / Kids Play-Off / Space Play-On (2:38)
45. Strange Visitor (1:14)
46. Home Sweet Home (1:24)
Bonus Tracks:
+ Library Cues from The Reluctant Stowaway and The Hungry Sea **
47. Earthquake (3:03)
48. Strange Visitor (To Be Continued) (0:50)
49. The Monster Rebels (3:42)
50. To Be Continued (3:07)

Disc 4 - My Friend, Mr. Nobody [Total Time: 39:33]

SIDE G: 
51. Wonderland Discovery (3:00)
52. Hair Style Book (0:28)
53. Penny’s Friend (2:04)
54. Diamonds / Smith and Penny / Diamond Play-Off (1:51)
55. Penny’s Cave (2:00)
56. To the Cave (1:07)
57. Gathering Wild Flowers (2:27)
58. Moving Rocks / Mother and Daughter (2:09)
59. Penny’s Problem (4:15)

SIDE H:
60. Storm Coming Up (1:33)
61. A New Galaxy (2:29)
Bonus Tracks: 
+ Library Cues from the Reluctant Stowaway **
62. Final Countdown (4:45)
63. Escape Velocity/Robot Control (3:35)
64. Defrosting (2:05)
65. Weightless Waltz (3:36)
66. Season Three Main Title Theme 
67. Season Three Bumper 
68. Season Three End Title Theme 

*  Composed by Richard LaSalle
** Composed by John Williams and Conducted by Lionel Newman

I thought this soundtrack sounded terrific and am so glad Elfman kept to his instincts and didn't do that RCP thing (just as much as I would have cringed to have heard Zimmer use '78 Superman in MOS).  At least Zimmer was doing his thing.  There seems to be edits from other films like Guardians of the Galaxy since the sound shifts quite a bit when that quote comes in during The Final Battle.  Overall, great to hear this fun and bombastic use of some old and new material so vibrantly pulled off.  I guess part of what is bugging people is Elfman's personal stamp is so prominent which I don't mind at all.  When Schumaker hired Elliot Goldenthal to score Batman Forever, he asked Goldenthal to incorporate some stylistic elements of Elfman's batman music to which Goldenthal rightfully told him, "if you want Elfman, get Elfman".  So similarly, that might be what Elfman was doing here.  It's a fun and exciting listen.  One must first be true to themselves.  Elfman was.
 
...and by the way, shouldn't this be in the General thread?

I thought this soundtrack sounded terrific and am so glad Elfman kept to his instincts and didn't do that RCP thing (just as much as I would have cringed to have heard Zimmer use '78 Superman in MOS).  At least Zimmer was doing his thing.  There seems to be edits from other films like Guardians of the Galaxy since the sound shifts quite a bit when that quote comes in during The Final Battle.  Overall, great to hear this fun and bombastic use of some old and new material so vibrantly pulled off.  I guess part of what is bugging people is Elfman's personal stamp is so prominent which I don't mind at all.  When Schumaker hired Elliot Goldenthal to score Batman Forever, he asked Goldenthal to incorporate some stylistic elements of Elfman's batman music to which Goldenthal rightfully told him, "if you want Elfman, get Elfman".  So similarly, that might be what Elfman was doing here.  It's a fun and exciting listen.  One must first be true to themselves.  Elfman was.
 
...and by the way, shouldn't this be in the General thread?

Thanks for the info @crocodile.
 
I will add the album on this page of my website next week-end : http://www.goplanete.com/johnwilliams/music/composer/themes.htm

Here it is.
 

Here it is.
 

Here it is.
 

Here it is.
 

Here it is.
 

Here it is.
 

Here it is.
 

Here it is.
 

I got this CD yesterday and cannot recommend it highly enough.  I count this as one of the best film scores ever written and this new recording elevates my opinion of it even further.  Despite the fact that a lot of the cues are quite short, the album works really well as a cohesive listening experience from start to finish, including many cues reconstructed from Vaughan Williams' original manuscripts and recorded for the first time.
 
The music is unmistakable Vaughan Williams but several cues have always sounded quite Herrmannesque to my ears.  There is a wonderful clarity in the recording that improves on the sound of the excellent Chandos suite from a few years ago.  If any film music fans are unfamiliar with this score and have avoided it because they think the music of this 1948 film might sound old-fashioned, they couldn't be more wrong and I would urge them to take a listen to this magnificent score.  I would love to hear this as a live to projection concert with the film!

Lovely example of English pastoralism.  Those are high violas (not violins) that play the opening motif.  They are playing very high in their register which is less secure than if the violins were playing the exact same line which would fit it's register easily.  So you are getting a sort of tender/vulnerable quality to that line in the violas.  Muted strings hold a long sustained and divided a minor chord (so less instruments per note again adding to a delicate and chamber feel). The string chord is much lower than the viola line so it occupies its own space aurally rather than getting muddied by all the instruments occupying the same registers.  The long held highest notes in the viola line is D and F# which does not harmonize with the a minor chord so there is a tension (or longing for resolution) that is sustained uncomfortably long until the resolution comes at the end of the phrase which is then harmonized (hence a release of the tension).  Clarinets then quietly repeat this phrase.  All of this is done with subtlety, delicacy, and elegance.

Lovely example of English pastoralism.  Those are high violas (not violins) that play the opening motif.  They are playing very high in their register which is less secure than if the violins were playing the exact same line which would fit it's register easily.  So you are getting a sort of tender/vulnerable quality to that line in the violas.  Muted strings hold a long sustained and divided a minor chord (so less instruments per note again adding to a delicate and chamber feel). The string chord is much lower than the viola line so it occupies its own space aurally rather than getting muddied by all the instruments occupying the same registers.  The long held highest notes in the viola line is D and F# which does not harmonize with the a minor chord so there is a tension (or longing for resolution) that is sustained uncomfortably long until the resolution comes at the end of the phrase which is then harmonized (hence a release of the tension).  Clarinets then quietly repeat this phrase.  All of this is done with subtlety, delicacy, and elegance.

One must marvel at Beethoven's work ethic.  Literally nothing will stop him from working on his music.

When we think we master the english well... 
 

Can this thread name be changed since it has absolutely nothing to do with "The Last Jedi Soundtrack" and getting way too much unwarranted traffic?

Can this thread name be changed since it has absolutely nothing to do with "The Last Jedi Soundtrack" and getting way too much unwarranted traffic?