MrJosh

I'm intrigued! The title made me think of Jabba's Baroque Recital haha. I wonder what this is!

It's sad that Bricusse is no longer with us, but so great that his lyrics to the songs will now be preserved in this set.

Wow, what a beautiful moment this is. To know that Hook has received the thorough treatment and love it deserves to have! I can't wait to sit down and enjoy this massive amount of fantastic score. I'm so glad and surprised that Williams was okay with including the songs & source music! I can't wait to dig into the two booklets!!!

That was such a great discussion @TownerFan, @mahler3, @Jay! Jay, it was great to hear you and I loved hearing about you going through takes on TLW and your reaction to hearing that very first take and how different it ended up sounding. Super cool and that sounds like a really fun experience! Thank you for mentioning the fact about Adams' Theme from Amistad later being played on the same instrumentation that had been more associated with the African music earlier in the score...I had not noticed that and that is a really cool observation. I loved hearing Maurizio's and Tim's commentary on both scores, and always love hearing Mike talk about anything and everything. Mike might think people would find some of the technical stuff boring, but I'd totally listen to him talk about any random technical aspects of creating these releases as it is all really interesting to me. I'm excited to find out what Mike's non-Williams big project is at the end of the year, and I found Mike's comments about being grateful at the end of the podcast to be really uplifting. Now to go listen to TLW, Sabrina and Amistad again...and maybe throw Rosewood in there as well, I haven't given that release some love in a while and damn I didn't realize it had been that long since that one had come out. Where does the time go?

More expanded David Arnold, yes please!

Listening through a 2nd time. Water Ballet has some organ in it, that's pretty cool! As is the other cool percussion going on in the track. As I listen through, I can't tell whether I like the mix or not...I keep going back and forth. There's times I think the strings should sound 'bigger', and some of the percussion seems really close, but then at the same time, I hear a lot of nice clarity and detail which I like. Sometimes I want to say the brass (maybe French horns in particular) sound a little harsh, but then again other times I think the brass sounds great. Bass seems really heavy sometimes, like pizzicato bass and bass drum very strong. Overall, I want to say I like the sound of the mix better than the Star Wars sequels, but I don't know, I'll have to compare.

The lifts from the non-Indy movies are really interesting. I wonder how that happens. I guess it could be as simple as Mangold using some of that music as the temp tracks. I can't imagine Williams going to his shelf and browsing for a few bars here and there to utilize.

I know the Minority Report bit was the Spyders music, but which bit of WotW is quoted in the film?

Cool website! This is fun. I removed some that I don't feel I'm familiar enough with to be able to rank, and removed a few things like Mr. Chips, and Tom Sawyer, and removed Superman IV and Solo. Here's what I got: 60s 70s 80s 90s 2000s 2010s/2020s

Overall, I very much enjoyed the OST. I really like Helena's Theme's usage within the tracks on the OST and my favorite action music is in Tuk Tuk in Tangiers. I'm happy to hear some intricate and engaging writing happening. Even in the track that sounds like Tintin, it's still fun and exciting. I didn't mind that as much as I thought I was going to. Not sure why it stood out so much to me on first listen, but the celeste is very noticeable to me and I don't really associate that instrument with Indiana Jones scores, though I'm sure it's showed up here and there, just seemed more noticeable in this score. I enjoyed the whole thing, but Tuk Tuk really had me going 'yeah yeah yeah!' I'm excited to listen through again.

I'm always interested in the early Horner scores, I will have to pick this up.

cool timpani roll, and then the horns at the end of the clip are pretty sweet.

ah, fascinating. I'll set that aside on my 'maybe/ unknown' shelf Thanks! Ah makes sense then. Confusing indeed, good work on somehow sorting out all the Krafts. Yep, that makes sense!

Thanks so much @Thor for clarifying for me on Alcoa Premiere. I hope you don't mind if I have more questions as I think about all this stuff! With all the great info on your walkthrough, it seems that the Main Page>Complete Works>TV Works could use some cleanup. I see some things which look incorrect and shouldn't be there at all (like The Cowboys TV series), and of course many of the entries are missing what we know about which seasons, number of episodes, etc. I see a few things there which are not in your walkthrough and I assume the page is wrong about these. Any ideas on them? Big G 1962 (no idea what this is) Voyage to the Bottom of the Sea (1964-1968) (this is definitely wrong, right? I believe you mentioned the series in one of your episodes and that Williams wasn't involved. Also the LLL set of course contains no Williams). The Kraft Summer Music Hall (1965) (is this perhaps an alternate name for one of the other Kraft series' Williams worked on, or is this just wrong and he wasn't involved with this particular Kraft entry?) Lastly, do you think the Michael Dukakis coverage should count as a TV work, or perhaps not?

@Thor I finally listened to the Part 6 of this series. Another great episode and so many fun things in here. I certainly share the love for Jane Eyre. Particularly the Restoration melody. That one sticks with me and comes into my head once in a while. The Screaming Woman. Wow, now this is such a cool cue and very mysterious background which I did not know about. This is very intriguing. It would be quite a surprise if it turned out to be something from another earlier series perhaps, but then like you said, why did they happen to credit Williams in the credits? It's a really cool cue, it makes me think of Dracula a bit. KCET - It's cool that you actually reached out to an archivist to try and get some info! NBC News - The four pieces are all so cool! I've heard them before but it has been a while since I listened, and I'm mostly familiar with The Mission of course. Pulse of Events has kind of a Witches of Eastwick sound to it to me, and I love the rapid-fire brass in the Scherzo for Today. Amazing Stories is really fun. I remember I had just tracked down the re-recording CD myself when not long after, Intrada announced their expansion(s). The Mission is fun, but my favorite is Ghost Train which I find more charming. As a side note, I'm also glad the Intrada set included some bumpers and the Amblin Logos. The NBC Sunday Night Football music is fun, and I got a kick out of the drumset rocking out in the 3rd one. Thank you for putting the whole thing together, it's been very educational and fun to explore. It's helped demystify a lot of the earlier works, though I know there are still a number of unanswered questions and unknowns too. One thing I wanted to make sure I understood from earlier on in the series is Alcoa Premiere Theatre: Did Williams write all episodes or is that unknown? I need to go back and listen to that earlier episode but I cannot until later tonight. In my notes, I wrote down the following: 2 seasons, 28 episodes each. Season 2 has one episode he does not score. But then I also wrote down that he scored all episodes, so I must have something wrong. I'll check this out next, thanks for reminding me, Yavar

I listened to a rip of this movie fairly recently, and figured I'd post a few thoughts on it: The score in the film amounts to about 20 minutes or so and then there's around 17 minutes of jazz source music heard in the film. The main theme is memorable and actually Williams works the main theme into one of the source cues as a jazz arrangement. @Thor describes the main theme as sounding kind of like Williams is doing a David Raksin impression. I'm not familiar with Raksin, but I will check out the score to Laura and listen for similarities. I will say that the main theme doesn't sound very John Williams to me, so if someone played it and quizzed me I don't think I would have guessed correctly. Some of the underscore has some Williams suspense sound to it, so that I can recognize. The underscore is mostly suspense, with a few dramatic moments and a couple statements of the main theme. Overall, I wouldn't say it's one of my favorites of the early Williams scores I've listened to rips of. I enjoy Daddy-O, The Secret Ways, Because They're Young and Gidget Goes to Rome, Bachelor Flat and Diamond Head more than this one. Still though...if it ever found a release one day, of course I'd welcome it. It would especially be nice to hear the jazz source music clean, as it's pretty hard to hear in the film mix.

I finally listened to The Legacy of John Williams podcast episode on Sabrina. Thanks @TownerFanand @mahler3 for a great discussion!

I really love Photographing Paris and Growing Up in Paris. A couple of my favorite tracks out of the whole score. I listened yesterday and there's a sound in there that brings me back to some of the 'magic' I felt when first really getting into movie scores and John Williams. Not sure specifically what it is yet, maybe I'll analyze it later and figure it out, or maybe it'd be more fun not to know.

Thanks for this fantastic post! Your enthusiasm and excitement is contagious! I couldn't help cheering along in my head as I read through this. I consider myself a newbie when it comes to most of these composers, but (as I've mentioned in other posts) I consistently am really enjoying most all early TV scores that I encounter, and I find myself wanting to explore some of these composers. I'm excited to order this set today and excited for whatever else comes from this project, I do hope this sells well. I'm going to make a list of the composers you listed off and start listening to them some more. Most of my early TV music that I know comes from the FSM Omnibus set, and the LLL Land of the Giants, Lost in Space, Time Tunnel and Star Trek. I'm excited to explore more. Actually it was penned by William Ross, though Williams told him what to say.

huh, well I'm disappointed they're doing the 'broken lonely old man' thing. I didn't like that Han and Leia were estranged in TFA, and why undo the happy ending of KotCS with this? I don't mind Indy having a goddaughter idea, but it would have been weirdly refreshing for a movie about Indiana Jones to be mostly about Indiana Jones.

I wonder if the Tintin "lifts" are Ross adaptations. Regardless, I'm super excited to hear the score. So glad we will have 5 Indy scores by Williams. What a gift!

Sounds super weird. I had the 'visible confusion Obi-Wan' face while listening to the samples.

Can anyone explain what he is meaning when he says sometimes music is 'cut to picture' so quickly that the original audio isn't available after that? I don't get it.

They should hire him to do the track titles for future releases: Star Wars 5 2025 Vinyl Complete Music Symphony 01 Fox Trumpet Song 02 Star Wars Start Song 03 Hoth Music 04 Imperial Walk (long version) 05 Asteroid Field Big Song 06 Yoda Melody 07 Han Solo And Leia Love Song 08 Star Destroyer Theme 09 Darth Vader Orchestra Music 10 X-Wing Goes Up Tune 11 Cloud City and Lando Love Song 12 Carbonite Theme 13 Luke VS Vader Epic Song 14 Rebel Ships Love Song and End Song (Long Edition)

I finished the 2nd disc. All really nice, lovely arrangements of classic tunes, and of the two JW songs. My favorites right now are In the Moonlight Piano Interlude No. 2, the Closing track, and the How Can I Remember renditions. This disc would work great at actual parties (if ever I were to host one), and weddings. Regardless of whether some of the tune arrangements were Williams or orchestrators/ collaborators, the sounds of the arrangements transports me to John Williams' early jazz sounds, such as in Checkmate or the Fascinating Rhythm album. All together, this is a really great release!