Trope

The already announced title is Wednesday Season 2
 
So the 7 titles are
High profile title that did not get approved in time #1 High profile title that did not get approved in time #2 High profile title that did not get approved in time #3 High profile title that did not get approved in time #4 Wednesday Season 2 Unknown title that is approved #1 Unknown title that is approved #2

"especially high profile ones"
 

@Andy @Tallguy

"And now, 7 seconds of unreleased music from Indiana Jones and the Temple of Doom" TODWaterMusicInsertAIJWfan.mp3  
 

Singin' in the Rain has quite a good-sounding original recording!

Supposedly, they did.
 
https://www.hollywoodreporter.com/music/music-news/sphere-wizard-of-oz-score-re-recording-1236298696/
 
 
I completely agree. This is something I've wanted to hear for a long time...and with use of MVSEP, it can also be completely instrumental.

Just bought this in lossless on 7Digital. Goddamn, this is fantastic. I'm ambivalent at best about the whole Sphere production. But if they wanted to revisit the music, this was the right way to do it.
 
Do I wish they'd gone the extra mile and re-recorded everything, even the unused music? Of course. And the cuts to this version of the film itself leave us with some omissions that span from annoying (bits of the Munchkinland sequence) to heartbreaking ("If I Were King of the Forest"). And of course, anytime you go from an old mono recording to a new stereo recording, there are tradeoffs. You get a lot of new beautiful details in the sound, but some of them don't match up with your memories/perceptions of the old mono version. And yes, I do hear some specific performance choices that I wish were a little closer to the original.
 
But the bottom line is that this is a gorgeous re-recording of some really outstanding music. I'm so glad they released it. It's a great complement to the '95 Deluxe Edition.

On first impressions alone, this is a really neat concept (the album recording, that is). I look forward to exploring it in more depth, but from a brief skim, it sounds like the orchestra is doing a solid job of imitating the sound and style of playing of the original recording.

On first impressions alone, this is a really neat concept (the album recording, that is). I look forward to exploring it in more depth, but from a brief skim, it sounds like the orchestra is doing a solid job of imitating the sound and style of playing of the original recording.

On first impressions alone, this is a really neat concept (the album recording, that is). I look forward to exploring it in more depth, but from a brief skim, it sounds like the orchestra is doing a solid job of imitating the sound and style of playing of the original recording.

Medieval...huh?

It's incredible! So much fun, love the violin parts. It also perfectly nails that propulsive end credits type feel of "wow, didn't you just have such a great time watching this movie???"

Listening to this once again. This might be a hot take, but I think the full orchestral version of “Double Trouble” in “The Firebolt and End Credits” is up there with the best two minutes of music JW has ever composed. There is some outstanding orchestration going on.

Sener’s skill truly has soared. He has fooled me!
 
 

Late 90s, early 2000s Horner scores have such a warmth that makes them so appealing and inviting to me. From him winning the Oscar for Titanic until House of Sand and Fog in 2003 is my favorite period of his career. I wish to see all the scores from that era given the expanded treatment.

Still waiting for an official release for the expanded scores for the Giacchino Jurassic World scores. Also, I think expanded scores should also be released on digital as well as physical (not everyone has a CD player, after all).

Once again, I advocate for Bicentennial Man, Mighty Joe Young, and Deep Impact! Late 90s Horner, let's do it.

I think if LLL can do A BEAUTIFUL MIND, it would make a nice 25th anniversary title next year to coincide with the film's 4K release, which will also be labeled a 25th anniversary title. 

I agree (mostly).
 
I do actually miss having a 40-60 minute OST album of highlights curated by the composer/their team. It makes the music more accessible IMO - I've enjoyed investigating Desplat's Jurassic World, but there have been several other 2-hour score releases that I just haven't had the stamina to endure.
 
IMO Following the example of Avatar: The Way of Water would be most suitable for big blockbuster scores - A regular score release of highlights (about 1 hour long), plus an extended album with more music (as long as required). 

The first score at least, deserves to be streaming in complete form forever.

Us, rather than the disc itself, as some had predicted.

Can't you see what this deluxe water-filled vinyl is doing to us? It's tearing us apart!
 
Damn the sorcery that created it! Damn it to hell!

I guess it takes some time to approve a box containing nine complete scores.

"First Haunting / The Swordfight" is different, because it's got an intercut that removes the chimes (meant for the face morphing) and the second half is different to the film version found on disc 1. 

Aside from that it's structurally different, combining several cues into little suites: 

"Strangers In The House" on the OST is a mix of three cues: 

-disc 1 track 4 "On to Whipstaff", which is two cues itself (confusing, I know) played in reverse to the OST, yet here they're chronological...the second cue in this (which begins the OST version) is unused in the film....AND in between them on the OST version is an unused cue I call 'Dog Food' which bridges them all. That unused cue was meant for when Bill Pullman is covered in dog food by the ghostly trio, assisted by Steven Spielberg on set.

"Fond Memories" on the OST is also a mix of three cues, but they're overlapped enough to cut the first of them down: 

-disc 1 track 14 "Kat in the Attic / Fond Memories" (the ending to Kat in the Attic is not heard on the OST)
-disc 1 track 13 "Costume for Kat", which is heard last on the OST suite version
 
 
"Dying to the a Ghost" on the OST, mixes in a piece of the main title "Kids with a Camera" (without the Casper theme or Horner's original version) as a bridge for that and the cue "Dad Returns", both on disc 1.  
 
So in the end, the only cue with material you can't find at all on disc 1, is sections of "First Haunting / The Swordfight", and also "Casper's Lullaby" is unique to the OST, unused in the film as it's a concert version of the theme.