Trope

I've had this CD sitting in shrink-wrap on my shelf for 9 months, waiting until December to listen to it. I just completed my first listen through of CD 1 today, and picked up on this straight away (I was listening on good headphones). It was the only noticeable audio blip on the whole first CD, particularly since the score sounds so much cleaner than the regular OST which I am used to listening to.
 
BTW I checked CD2 and "Follow That Kid!" has the exact same scratching noise at 1:53. I compared it with the OST on Spotify, and right where the noise is on the LLL set, the OST instead has some kind of high frequency drop-out (perhaps to mask it?). Most intriguing... Regardless, I'm keen to listen to the score again, as it was a fun time (and very cartoony-feeling, with all the extra Wet Bandit musical material included on the LLL set).

The story was her realizing it.
 
I can see people not liking the pacing, or the lack of humor, or maybe even missing a sense of adventure. Those are arguably the biggest departures from past Star Wars. But the two things in this show that are absolutely perfect are the prison arc and everything with Mon Mothma.
 
To me one of the greatest moments of the entire series was when MM meets with the scummy banker and he says "I don't want money, I want your child" and you see her realize that she had no idea the game that she was playing, what would be asked of her, and what she would be willing to do. It was overshadowed by some pretty amazing events in the rest of the episode. (I mean, it had Andy Serkis being astonishing AND Luthen's speech.)

Nice!  Exactly the same for me with Home Alone 2.  I bought it ready for 1 Dec, today!  

I've had this CD sitting in shrink-wrap on my shelf for 9 months, waiting until December to listen to it. I just completed my first listen through of CD 1 today, and picked up on this straight away (I was listening on good headphones). It was the only noticeable audio blip on the whole first CD, particularly since the score sounds so much cleaner than the regular OST which I am used to listening to.
 
BTW I checked CD2 and "Follow That Kid!" has the exact same scratching noise at 1:53. I compared it with the OST on Spotify, and right where the noise is on the LLL set, the OST instead has some kind of high frequency drop-out (perhaps to mask it?). Most intriguing... Regardless, I'm keen to listen to the score again, as it was a fun time (and very cartoony-feeling, with all the extra Wet Bandit musical material included on the LLL set).

I've had this CD sitting in shrink-wrap on my shelf for 9 months, waiting until December to listen to it. I just completed my first listen through of CD 1 today, and picked up on this straight away (I was listening on good headphones). It was the only noticeable audio blip on the whole first CD, particularly since the score sounds so much cleaner than the regular OST which I am used to listening to.
 
BTW I checked CD2 and "Follow That Kid!" has the exact same scratching noise at 1:53. I compared it with the OST on Spotify, and right where the noise is on the LLL set, the OST instead has some kind of high frequency drop-out (perhaps to mask it?). Most intriguing... Regardless, I'm keen to listen to the score again, as it was a fun time (and very cartoony-feeling, with all the extra Wet Bandit musical material included on the LLL set).

I really like this set.
But anyone else hear a distracting scratch hard in the left channel at 1:55 of Follow That Kid (film version)? Thankfully it's in a repetitive spot so for the rip and digital playlist I can just loop over it.

There is no more "general public" for scores, so I don't know for who the OSTs are still intended... People don't buy CDs anymore and they don't listen to an album from the beginning to the end.
 
Put anything on Spotify, people will only listen to it if it gets in a playlist!

Every single one of William's OST albums should be listened to exactly as released at least once.

Brett Mitchell's cover of the title track:
 

Just slightly different takes I believe. The film version is more "bouncy," for lack of a better musical term.
 
There's mix differences too. I think the strings are more prominent in the film version.

I think people are just being realistic.
Pointless getting our hopes up for Indy or Star Wars (even if Disney allowed a smaller label in that wheelhouse, it'd be Intrada) Everything post-2005 is off-limits (the date hasn't changed, so far as we know) so no Tintin/Memoirs of a Geisha/Lincoln with lots of unreleased music MV has ruled out Hook Oliver Stone box set is off the table Amistad is the last eligible Spielberg score with significant unreleased music. The other two pre-2005 Spielberg scores (CMIYC/Terminal) don't have much unreleased Patriot and Nixon have significant unreleased music but both are Intrada territory (due to the Disney connection)  
So it might come from the non-Spielberg canon, but with all the amazing expansions we've had over the years, there's less meat on the bone. Would be nice to finally tick Sugarland off the list... but I wouldn't exactly do backflips.
 
I'll be blown away if something post-2005 is expanded, a previously ruled-out title like Tintin. It wouldn't just be an incredible expansion in its own right, but it would signal an opening of the floodgates for previously untouchable scores.

Dan Goldwasser says
 
The original recorded tracks sound absolutely pristine - the 1972 OST was not reflective of the quality of the recording. Chris did an excellent job on the mix, and Doug Schwartz did a wonderful job on the mastering.
 
https://filmscoremonthly.com/board/posts.cfm?threadID=149830&forumID=1&archive=0

Forgot about coming here to give my little thoughts.

I think this is up there with Rebels as probably the best in the SWU for me. The score (I know a lot of people here aren't fans of it) actually is incredible to me. Me and my mum keep putting it on while we do House Work and I find myself listening to it randomly. So SO good.

Obviously, acting, writing, directing is all top notch as well. Really excited for S2. I think this show has the only time I've ever teared up at Star Wars!

Here's how busy Williams was from late '96 to early '98
 
November 26-27 '96: "Victory Celebration" recorded for Return of the Jedi: Special Edition (film opened March 14 '97) December 1,2,4,6 '96 - Rosewood score recorded (film opened February 21 '97) (unknown date) - Seven for Luck composed for soprano Kathleen Battle intending to debut some time in 1997 in Washington (ultimately debuted July 25 1998 with Cynthia Haymon instead) March 18-21 : First half of The Lost World recording sessions March 24: 69th Academy Awards ceremony ("Best Original Dramatic Score" nomination for Sleepers, lost to Yared's English Patient) March 27,28,29, April 2 - Conducting Boston Symphony Orchestra at Symphony Hall (includes The Five Sacred Trees) April 18-22: Second half of The Lost World recording sessions (film opened May 23) (unknown date) - DreamWorks SKG logo music composed and recorded (debuted with The Peacemaker, September 23rd) May 23,24 - Conducting Boston Pops at Symphony Hall (includes "A Twentieth-Anniversary Celebration of Star Wars") May 29,30,31 - Conducting Boston Pops at Symphony Hall June 3,4,5,6 - Conducting Boston Pops at Symphony Hall ("The Lost World" concert debut) July 5,6 - Conducting Boston Symphony Orchestra at Tanglewood July 12 - Conducting Boston Pops Esplanade Orchestra at Tanglewood (includes Star Wars celebration) July - Seven Years In Tibet score recorded (film played September 13 at TIFF, then opened October 10) August 5 - co-conductor for Tanglewood On Parade night at Tanglewood August 29-30: Hollywood Bowl "Star Wars 20th Anniversary" concert (unknown date)  Elegy for Cello and Piano composed, and performed at the memorial service by John Williams on piano and John Waltz on cello October 6-26: Amistad score recorded (film opened December 25) December 27-28: Conducting Boston Pops Esplanade Orchestra at Symphony Hall February 21-23 '98: Saving Private Ryan score recorded at Symphony Hall (film opened July 24 '98) May 22-23 '98 -  Conducting Boston Symphony Orchestra at Symphony Hall ("Dry Your Tears, Afrika" concert debut)  
Amistad was recorded almost a year after Rosewood, and only 4 months before Saving Private Ryan
 
Looks like its another score he would have written while living in Massachusetts for a month for Tanglewood season
 
 
Looking at this again, it seems crazy that Spielberg was even able to fit in Amistad in between The Lost World and Saving Private Ryan!

AN OFFER YOU CAN'T REFUSE...
 
5TH AND FINAL RELEASE...
 
THE GODFATHER: 50th ANNIVERSARY LIMITED EDITION (2-CD SET)
LLLCD 1610
Music by Nino Rota
Limited Edition of 5000 Units
RETAIL PRICE: $29.98
 
ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST
 
La-La Land Records, Paramount Pictures and Geffen Records proudly present a remastered and expanded Limited Edition 2-CD release of acclaimed composer Nino Rota’s (8 1/2, LA DOLCE VITA, WAR AND PEACE) original motion picture score to the 1972 Academy Award-winning masterpiece THE GODFATHER starring Marlon Brando, Al Pacino and Diane Keaton, and directed by Francis Ford Coppola. 

This deluxe release of Nino Rota’s iconic masterwork marks the 50th Anniversary of the classic film and its score, both of which have woven themselves deeply into the fabric of our culture. The music is a dramatic and emotional wonder – deeply soulful and romantic, yet tragic and teaming with pathos. The score’s waltz and love theme have both joined the pantheon of the most universally recognizable movie themes in history.

Produced by Dan Goldwasser and Neil S. Bulk, mixed by Chris Malone and mastered by Doug Schwartz from studio vault elements, this 2-CD release includes previously unreleased and unused music and has been approved by Francis Ford Coppola and American Zoetrope. Disc One showcases the film’s expanded score presentation along with additional and alternate cues, while Disc Two presents the remastered Original Soundtrack Album and Bonus Tracks that showcase music by Carmine Coppola, as well the songs “I Have But One Heart” and “Manhattan Serenade.” The exclusive, in-depth liner notes are by writer Tim Greiving and the sharp art design is by Dan Goldwasser. 

Limited to 5000 units, this simply put, is a soundtrack release “you can’t refuse!”

TRACK LISTING:

DISC 1
SCORE PRESENTATION
1. Main Title / Corleone Waltz #1 1:22
2. Hollywood* 1:26
3. The Horse’s Head** 1:32
4. Sollozzo The Turk** / Luca Brasi 1:57
5. Christmas* / Prelude To Murder* 3:19
6. The Aftermath 0:32
7. Bad News** 0:54
8. Bad Luck / Sicilian Message / Meditation* 1:22
9. The Halls Of Fear** (Extended Version) 4:21
10. Michael’s Decision** / The Waiting Game** 2:18
11. Armed And Ready** 0:32
12. Set The Meeting** / Michael Takes Over 1:19
13. The Pickup* (Extended Version) 3:02
14. The Getaway 0:22
15. Sicilian Pastorale** 3:01
16. Love Theme From The Godfather (Film Version) 2:28
17. Corleone Waltz #2* 0:22
18. Apollonia 1:22
19. Sonny’s Dead** 1:40
20. Reunion** 2:22
21. Marry Me, Kay 1:15
22. Las Vegas Strip* 0:37
23. Too Little Time 1:50
24. The Baptism (Extended Version) 5:08
25. No Tears For Tessio** 0:55
26. The New Godfather (Film Version)* 0:50
27. Corleone Waltz #3* 1:59
28. Finale 1:05
29. End Credits** 3:19
TOTAL SCORE TIME 53:30

ADDITIONAL MUSIC
30. Main Title (Alternate) 0:36
31. The Horse’s Head (Film Version) 1:19
32. Bad Luck (Alternate) 2:03
33. Set The Meeting (Alternate) 0:40
34. The Horse’s Head (Trumpet Solo) 1:04
35. The Halls of Fear Pt. 1 (Film Version) 3:05
36. End Credits (Alternate) 3:53
TOTAL ADDITIONAL MUSIC TIME 12:58
 
TOTAL DISC TIME 1:06:28
 
DISC 2
 
ORIGINAL SOUNDTRACK ALBUM
1. Main Title (The Godfather Waltz) 3:06
2. I Have But One Heart 2:56     Performed by Al Martino
3. The Pickup 2:54
4. Connie's Wedding 1:33
5. The Halls Of Fear 2:11
6. Sicilian Pastorale 3:01
7. Love Theme From The Godfather 2:41
8. The Godfather Waltz 3:34
9. Apollonia 1:23
10. The New Godfather 1:59
11. The Baptism 1:49
12. The Godfather Finale 3:53
ORIGINAL ALBUM TIME 31:30

BONUS TRACKS
13. Manhattan Serenade 1:21
14. The Godfather Tarantella 3:02
15. The Godfather Mazurka 2:56
16. The Godfather Foxtrot 2:50
17. This Loneliness 1:46
18. Lucky 0:43
19. Connie's Wedding (Music Only) 1:25
20. Antico Canto Siciliano 0:56
21. Mazurka ala Siciliana 0:26
TOTAL BONUS TIME 15:40
 
TOTAL DISC TIME 47:10
 
TOTAL COLLECTION TIME 1:53:38
 
* Not used in film
** Contains material not used in film
 
https://www.facebook.com/lalalandrecords/posts/pfbid036HiRnhkMdXbtwZwSqKqfMyg1iCT6ztTmhUGUHMhnMR79mU48czPoYwwjnKMVbxBsl

The godfather

No info in my hands, but I agree that the chimes in Home Alone do sound very FM, so DX7 is a possibility. My only other suggestion might be Korg M1, because that was the biggest synth in the world at the time - by 1990, the DX7 was a bit 'last month'.
 
Ralph Grierson was the keyboard player on JP (and for a huge number of JW scores, plus Horner et al) and seemed like a really friendly chap when @TownerFan interviewed him. If anyone could track down contact details for him and ask nicely, I suspect he might be quite happy to help us geek out. His synth rig was probably pretty comprehensive, back in the day, but I imagine that extra synth kit would have been hired in for certain scores - I believe it was pretty common practice. This picture from @TownerFan's interview webpage gives you an idea of the scale we're talking about:
 

 
The website gearspace.com often discusses this sort of thing (with a degree of obsession and fanboy-ness which residents of this forum may recognise), but I can't find much of substance about Ralph on there. It seems he was a featured artist in Keyboard magazine (May 1986) - if anyone can get hold of a copy, it might have some info in. Or might not.
 
Mark

Incredible finale!!!
I loved it. It took me 6 episodes to really get into this show, but after this season is done I'm fully on the side of loving the show. I think it's incredible.
I've really come to care about all the characters, the good and bad.
 
The whole time we were on Ferrix was incredible and I loved how the sequence evolved and at the end it (literally) exploded. It was so cool to have all the characters in the same place, knowing that something would happen.
Incredible acting across the board. Britell's music was the best up to this point.
 
 
Oh, and stay until the very end because there is a post credits scene that for the first time links this series to the larger SW story and I thought it was brilliantly done. And it closed one of the story arcs this season very well.
 
Bring on S2!!

Hi all, there may have already been a thread about this somewhere but I was wondering if we could concentrate our knowledge about some of the sounds used in this score.
Dennis Steals The Embryo
I was able to find the Owl Sound from Dennis Steals The Embryo (Synclavier) at 16 seconds you can clearly hear it
I believe the synth boo-bams are the actual live boobams now in the posession of LA percussion rentals
I believe the main clave (originally pulli sticks in the score)  in the song may be synth
 
I believe the dx7 was being used at the time (for example the TUBELL preset I believe is a sound on Home Alone Main Title)

Does anyone else have info?
1447383422_OWLJP.wav

So Willow has Davis back. It has Whalley back. Kilmer is back, in spirit at least, and Howard is back producing. What’s missing from that original DNA? James Horner’s unforgettable score, of course. Sadly, Horner passed away in 2015, but in his place, Willow has James Newton Howard, himself a legend, who specifically asked to work on the show. “James Newton Howard ... threw his hat in saying ‘I want to step into this,’” Kasdan said. “And one of the reasons he said it is because he and Horner had a history together.”
As for the use of the theme, Kasdan and Howard agreed it needed to be used in the right way. “When we had our first conversation, I said, ‘You know, the movie is synonymous with this theme. People love it.’ And he said, ‘I want to use it, but I want the moments when it comes back to be impactful. I don’t want it to feel like we’ve cut together the score from the original movie and repurposed it every time we get into a sort of emotional jam,’” Kasdan recalled. “So you’ll find as you go through the [series], we use it very sparingly as an accent. And what James said to me is that as a friend of Horner’s, he’s confident that he handled it in exactly the way Horner would have handled a score that he had started out on. So I felt pretty good about that.”

Just one of those happy coincidences - great minds think alike and all that!  Kind of like how James Horner wrote the theme for Willow nearly concurrently with Schumann writing his third symphony.