Trope

For me it's Horner's Superman.

No.

I’m guessing it will be revealed that Q’Mir’s last name is Dammit. 
 
“Q’Mir, Dammit! I said Q’Mir!”
 
Lotta fans gonna be naming their dogs Q’Mir. 
 
 
 
I’ll show myself out. 

Lol that instead of Zimmer's iconic score they put some rap music like this is a Fast & Furious sequel or whatever 

Maybe it's safer to watch it without sound? 

There is apparently just one photograph of Alexandre Desplat in this world.

HBP's OST is not perfect, for it misses one crucial piece: Dumbledore's actual death music. That omission greatly hurt the program. Thank God we got the sessions to rectify that.
 
Also, "Dumbledore's Speech" and "Dumbledore's Foreboding" are basically the same. Get rid of one and put 8m48B in and you have a solid program.

Well it's nice to know it wasn't just me! I didn't appreciate how rude some of the people were on the Intrada Facebook group when I posted about the gap issue. I wasn't trying to take anyone down, simply point out an error with one of their releases. It doesn't make me happy to have to point them out but I feel it's better to do so and maybe in the future it helps prevent this sort of issue again. I still appreciate what Intrada does putting this music out there for us.

It might not be among the most popular opinions on this board, but I think the main theme from The Fabelmans is one of the most beautiful, endearing and straightforward melodies of Williams' career. 
 
The secondary theme -the one prominently heard in Mitzi's Dance- is very atmospheric and even in its most stripped down version -the piano solo piece Reverie- it's highly effective. 
 
Though I love everything Williams has written -including The Sugarland Express- The Fabelmans is much closer to my heart. 

So it's some legal bullshit, probably created by the same geniuses who forgot to add a sliding date to the AFM 2005 thing.

I believe it's some rubbish to do with the track running over 10 minutes in length. This was an issue from the past, but clearly it hasn't been resolved with every release on modern streaming. BTW it's the same issue for a track on Horner's Bobby Jones: Stroke of Genius, Goldsmith's The 13th Warrior, and Zimmer's Radio Flyer (I'm sure there are examples of others). Whatever the reason, it's damn annoying.

Ah, and Goldsmith's Timeline.
And Zimmer's At World's End also.

- Jerry Goldsmith Scores
- James Horner Scores
- William Shatner

HAHAHAHAHAHAHHAHA
 

I believe it's some rubbish to do with the track running over 10 minutes in length. This was an issue from the past, but clearly it hasn't been resolved with every release on modern streaming. BTW it's the same issue for a track on Horner's Bobby Jones: Stroke of Genius, Goldsmith's The 13th Warrior, and Zimmer's Radio Flyer (I'm sure there are examples of others). Whatever the reason, it's damn annoying.

Ah, and Goldsmith's Timeline.
And Zimmer's At World's End also.

This expansion just arrived. I have to say, from first impressions I am disappointed.
 
Firstly, the sound quality on this release is really not great. Intrada celebrate the fact that they don't use dynamic compression or anything else to alter the sound, but this release just sounds like a sessions dump as a result. The recording itself is strangely dull and muddy, the snares/percussion have no sharpness (and they appear in nearly every track) and there is a lack of clarity in the orchestra, particularly among the brass. And maybe that's just the way it was recorded, and there was nothing Intrada could do. "But if they did try to improve the sound, there would be a risk of them f*cking up something else, whether phasing or normalising or peaking, based on their previous releases!" I hear you reply. Well, that just demonstrates a level of incompetence that should not be tolerated. The LLL Casper release sounds incredible, as do Intrada's own Apollo 13 and Legends of the Fall expansions. (I know Mike M. is not available to do everything, unfortunately...) But regardless of who's to blame, the end result is that the music here doesn't sound great from a sonic perspective.
 
Secondly, it is so disappointing to see Intrada once again fail in quality control and allow short gaps to appear between EVERY track, thereby hindering the gapless playback between some tracks in the main program and every track on the third disc OST. Additionally, the unspecified clicks discussed early in the thread at 0:47 in "The Night Before" and 7:33 in "Marine Assault - Part 2" ruin a lovely emotional passage. How does this happen, and how did nobody notice this? Really annoying, and it's not actually easy to properly fix, given that most of these silences between tracks occur at very soft moments (heightened by that big dynamic range). These non-musical problems should never occur. Intrada are a company releasing specialty, limited CDs of some rather niche scores, some of which may never be released again. For goodness' sake, make sure the tracks play back correctly! ESPECIALLY if you're not going to put a major effort into improving the actual sound of the music.
 
Thirdly, (and this has to do with the music itself and not this release) the score is the first I have ever encountered from James where it really sounds like he is phoning it in AND I'm getting no emotional connection whatsoever (unlike other recycling efforts, like Jumanji, Deep Impact, Bicentennial Man, Iris, etc. which I love). The action music here sounds so different to his usual style of writing that I question how much of it he actually wrote, given the crazy post-production changes that were going on for the film and the many credited orchestrators. And the more elegiac, emotional stuff, including the main theme, sounds so uninspired and half-baked, as if James was working with an early, unfinished musical draft. Perhaps I will study it in greater depth and figure out why it sounds so awkward; it may have something to do with the static phrasing, chords which don't really outline a stable key centre or press the music forwards, less than stellar voice-leading, or something else. As I've said, I'm quite taken aback by how cold this score has left me so far (I couldn't even get all the way through disc 1 without stopping and having to listen to Search for Spock - Remember beautiful harmonic progressions and emotional themes?). I'm sure it didn't help James that the Windtalkers film itself is godawful garbage, but I hope that I can look past that and try to find some more things to appreciate in the music.
 
Thank you for reading my essay!

It will most certainly be rushed.

If you're still curious nearly three year, I've done a deep dive!
 
In a nutshell, if you want the Ennio Morricone material as presented in the film, Disc #1, Tracks #14-30 are your bag, BUT: stick Disc #2 / Track #16 between Disc #1, Track #24-25. The last 20 seconds of Disc #2 / Track #16 appear in the film as Sam Shepard questions Brooke Adams for the first time. FSM must've missed that one. Also, in the film, three cues are repeated once.
 
The original 1978 soundtrack (Disc #1, Tracks #1-13) showcase *most* of the major musical ideas in their fullest forms, thus making it the most pleasing presentation of the three programs [to me].
 
Attached are two screenshots of my breakdown: the in-film Ennio Morricone soundtrack, and all of the unused material. Hope this is useful!!
 

 

 
Also, these two tracks are my favorite renditions of the Aquarium riff and the love theme respectively :
 
 
 
 

Do your best to stick it out through A.I. on your first listen, even if you find the opening hour or so a little slow. It will be worth it in the end! I did the same as you, blind purchased the LLL 3CD a few months ago while never having heard the OST or seen the film, and it shot up to my top 3 scores by the maestro.
 
And Lost World is just excellent and highly entertaining from beginning to end.

It sounds glorious. Its amazing some newer scores sound so bad compared to the latest mattesino releases

Late to the party - I just listened to Hook part 1 and OMG is it interesting.
 
What a drama when DD tried to block MM (and succeeded with the first expansion of Hook)… I think MM retold the story with a calm not many could have mustered.
 
It was super interesting to hear the background story of how an expansion comes together and all the red tape that needs to be handled. It sounds as if not many could do the job that MM does.
 
On that note, what a godsend MM is. That man’s attention to detail and willingness to put in the hard work - combined with diplomacy and patience - makes me very happy that JW’s work is in his hands.
 
I haven’t listened to the Sugarland Express episode yet, but any podcast/episode festering MM’s insights are worth listening to multiple times and I’ll get to it - just waiting for the CD to arrive first. 😊

If you listen carefully, you can actually hear Luke’s theme in the main title to The Phantom Menace. What this means I’m not entirely sure, but I’m 90% sure it’s his theme.

I always loved that timpani referencing the Vader theme, but I think this thread has turned into different people talking about different themes appearing in different scenes in different films.

It's easy to confuse films of such similar quality!

Do your best to stick it out through A.I. on your first listen, even if you find the opening hour or so a little slow. It will be worth it in the end! I did the same as you, blind purchased the LLL 3CD a few months ago while never having heard the OST or seen the film, and it shot up to my top 3 scores by the maestro.
 
And Lost World is just excellent and highly entertaining from beginning to end.