MikeH

Two of those had directors who seem to really respect the scoring process. I don't think it's a coincidence that he was able to write much better scores for TLJ and DoD than for TFA and TROS.

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SCORE ONLY VERSION!!!
https://thedigitalbits.com/columns/my-two-cents/101023-0700

I bet there are things about scoring bad movies that are more fun than good ones. And it's probably not that different to some degree. Like, the moment in "The Great Eatlon" when Giamatti realizes the guy with one buff arm is The Guardian, that's just a great setup for music whether you think it's actually a good scene or not. And on the flipside great art probably just feels like footage after awhile. 

'Alternative rock' artists provided 2 of the best - YKMN, and Garbage's The World Is Not Enough.  

https://www.facebook.com/reel/1446267599252618
 
https://open.spotify.com/album/2DWJtnvhMCL49fvWBfyt27?si=lXLmNeerS0aGaN-LvaxEjg
 
 
 
Physical CD:
 

1     Signs: The Cornfield
2     Signs: After You Were Born
3     Signs: Hand of Fate
4     The Village: Morning - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
5     The Village: Noah Visits - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
6     The Village: Ivy Saves Lucius - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
7     The Sixth Sense: Lonely Boy
8     The Sixth Sense: Ghost in the House
9     The Sixth Sense: Acceptance
10     Lady in the Water: Prologue
11     Lady in the Water: Charades
12     Lady in the Water: Story
13     Lady in the Water: Return to the Blue World
14     Unbreakable: Survivor
15     Unbreakable: Destiny
16     The Last Airbender
17     The Happening: An Event - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
18     The Happening: Harbinger - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
19     The Happening: Aftermath - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
20     After Earth
21     Flow Like Water
 
https://www.amazon.com/dp/B0CG1XXMM2

Very cool
 
Now do another one together

JNH is apparently releasing an album featuring his music from Shyamalan movies. He posted this on his Facebook:
 

 
And this was his lastest release on Spotify:
 
 

I’d love to find his signature wind-chimes sample/patch (think Southampton and The Launch). Any ideas?

My favorite synthesized effect Horner used was the 'air' effect, like a faint whistle in a huge amount of his scores, notably in "To Gillian on her 37th Birthday", "Deep Impact", "Braveheart", "The Forgotten" and many, many others. 

NEW EPISODE Soundtrack Producer Mike Matessino talks the expanded reissues of two impressive #JohnWilliams scores from 1997, THE LOST WORLD and AMISTAD, recently released by @LaLaLandRecords
LISTEN http://tinyurl.com/ysabbudp
 
https://twitter.com/TheLegacyofJW/status/1697639770518614300
 
 
 
🔴 NEW EPISODE!🎙
 
GRIPPING JOURNEYS: THE MUSIC OF 'THE LOST WORLD AND 'AMISTAD'
 
Archival Soundtrack Producer Mike Matessino returns on The Legacy of John Williams podcast to discuss the remastered and expanded editions of two impressive scores from the Steven Spielberg/John Williams collaboration, recently released by La-La Land Records: THE LOST WORLD and AMISTAD.
 
Mike Matessino sheds light on his restoration work on these seminal scores, both composed in the same year (1997), also offering his insightful comments on how they sits within John Williams' filmography. Project assistant Jason LeBlanc joins the episode as a special guest to further illuminate on the process of restoring these two releases and explaining his role assisting Matessino during their production.
 
Hosted by Maurizio Caschetto and Tim Burden
 
🎧 LISTEN 👉 tinyurl.com/ysabbudp
 
Available on all major podcasting platforms!
 
https://www.facebook.com/story.php?story_fbid=pfbid0UVnm8YfsbeLeLhtAkuxUuSbSvVD2MkXoBj7ZBNbF1bS3rbsbk4guz7weGaCxcY1xl&id=100054793129036&mibextid=CDWPTG

I personally can't understand how this is so mystifying, really. Many scores have multiple ensembles for different types of scene (orchestra, soloists, etc) and it sounds like the number of active recording studios in L.A. is shrinking. The idea of having to go across town a few times to different places, depending on where's available and what they need on that particular occasion, doesn't seem even remotely strange to me. And that's without considering any pick-ups if they decided later in the process that they needed an additional bit of score for something.

5m3 and 7m1  🎺 📯  
 
 
 
 

Listening to the set.  OK, there is indeed a lot of new stuff on here. I really liked the old album already, which had some good action music, but it is really surprising to experience this material in the context of the entire score. Some of the new stuff is way more aggressive than what we've heard before. Let's put it this way: the old CD felt like one of those anguished Horner drama scores, the new expanded set pushes it more into the action territory. It almost feels like something you would hear in a Medal of Honor video game. I think a lot of people will be really surprised by this shift. If anything, definitely a significant upgrade.
 
Karol

I would LOVE to hear an orchestra play the first minute or so of Battle Over Coruscant, with the staccato military-esque force theme and especially the Taiko drums 🥰

A marvellous bit of fan art - 

Yes.  At 90+ years old, he's an encyclopedia of these chords and scales he's obsessed over for 80+ years.  I very much doubt scales and chords are something he has to put much thought into these days.  Here is an analogy.  Playing side by side with a professional level musician, they played a fiendishly exposed and difficult passage without breaking a sweat.  I asked, didn't playing that even make you nervous a little bit?  They said absolutely - but the items they were nervous about were no longer about hitting the right notes or rhythms.  They worked that all out over decades.  They were nervous about bringing something fresh and musical into something they had played thousands of times.  So, a beginner might be fretting over the obvious items like hitting the right note.  A mid level musician might focus just as much about tempo, phrasing, and dynamics but less worried they'll hit the right notes.  A professional level player might play the same passage now worried about doing the passage artistic justice and giving it the dynamic flare it needs though they've played it a thousand times.  At each level, the musician is stressing over the same passage and are working through issues but those aren't the same issues at all.  As a beginner you might think, it's crazy to imagine the pro doesn't have to worry about hitting the right notes.  They've moved past those obvious issues and are now focused on more nuanced challenges we might not even notice yet.  That is the analogy I'm making with JW.  He's at that point compositionally.  I seriously doubt he scratches his head wondering what that chord was or how to spell it because he's been doing that already for decades and now knows if I need something for a scene with a specific feel, C#min7+#9+#11 would work great right there.  Some would see this as it comes easy for him but it doesn't.  He just spent many, many years already working through the basic issues.  There are very few people in any capacity who will reach this level of accomplishment.  

"Learning to Read" is such an amazing track. And the main theme of this score is quite an ear worm IMO.

1995 was by far the best year in James Horner's career. Braveheart, Apollo 13, Casper, Jumanji, Balto... He was on fire during the 90s.

"That F****** Title and Prologue"

clickbait motherfuckers.
 
 

Yeah I was shocked how short it was! It felt like it was just getting started, then it was over! 

Did they forget to post the full article?