Naïve Old Fart

J.W. won Grammys for both "Star Wars", and "C.E.3.K.", but, curiously, in different years (1977, and 1978). He also won a Saturn award for both "Star Wars", and "C.E.3.K.". this time in the same year.

No. sadly, just the one.

OI!!!!!!! What the #@%$ is wrong with Geddy Lee??!! He has one of the most expressive voices in rock. O.K., true; his work up to, and including "Hemispheres" does make him sound a bit like he's on helium, but, over the years, as his voice has dropped, he has developed into a very "honest" (ie, without pretence) vocalist. He does not have the ability to "inhabit" a character, but then not many lead singers do (Peter Gabriel is an obvious exception. If you doubt me, check out his work on songs such as "Back In N.Y.C.", "Family Snapshot", and "Digging In The Dirt"). I digress. I have no trouble with any natural, or synthisised sound per se. My problem is the paucity of musical context that some composers seem to adopt. Why does a duduk have to be heard over anything remotely "middle east"? Why does a solo violin have to be indicative of the plight of mid-20th Century Jews? I would prefer that composers do not rely on musical cliches to illustrate their point, which is why I really appreciate the fact that, when he dies, Darth Vader's Theme is played on...a harp. For me, it seems to negate all the evil that he did, and to say that, he finally found some kind of Heaven, or, at least, peace. This is the kind of three-dimensional musical thinking that I like. A superb example of this is "Link"; on the face of it, a totally bonkers score, for a bonkers film, but in scoring the film from Link's POV, J.G. truely gave him a musical voice. I'm not sure if other composers would have dared to do this. It shows that J.G. was a truely forward-thinking composer. It is a shame that this kind of risk taking is a dying art, with most modern composers electing to smother a scene with as much bombast, and unsubtlety as possible. To say that, when they die, we will never see the likes of Williams, Barry, and Morricone again, is an understatement. I just hope that there is enough musical brinksmanship left to extend the range of original voices in film scoring, before the writing of motion picture scores really does become mush.

Does anyone know which version of "Putting Out Fire" it will be; the "Cat People" Soundtrack version, or the "Let's Dance" version?

"How many times must I tell you: the right tool, for the right job!"

Certainly. "preferring" is fine, but no one in their right mind would say TSFS was a better film than TWOK. Unless they watched it like I did the other day when I fell asleep during the dull bits. This is a fair point; I "prefer" TSFS to TWOK. I prefer the themes that it explores, I prefer the conclusion (you can't argue that the end of TWOK was not a downer), and I prefer the look of the film-TSFS's "blue", peaceful look compared to TWOK's "red" war-like look. It is such a shame that both films, even in their re,remastered form have lousy sound. DTS mastering may have helped, but I doubt it.

Thanks! Suo Gan is a traditional Welsh song.

As Willie Scott once said: "Hard to believe, isn't it?" What can I say; I just prefer "Star Trek III", that's all. no biggie.

Er...didn't what, Data? Not quite with you, I'm afraid.

I take your point about the second "Ark" quote; it is rather good. I do, however still favour the "Ark" quote in KOTCS to TLC, because it is sometimes just nice to hear "that music" at the cinema again. When the main title to "Superman Returns" started, I actually cried, and when J.W.'s name appeared, I applauded. I just didn't care; I wanted everyone in the cinema to know that I LOVE his music!

An unexpected, and very welcome release. I will buy it. Now for the expanded "Star Trek III"; a superior score, for a superior film. INCOMING!!!

I once dreamt of being Hans Zimmer...and woke up screaming.

I suppose, yes. And Marian, I think I would venture to call the island fanfare gorgeous as well! ...and "Dennis Steals the Embryos" is a blatant rip-off of "The Conspirators" from "J.F.K.", but as they are both by J.W., we can let him off. Has anyone noticed the musical in-joke in "Journey To The Island"? As the hellicopter scene progresses, two particular notes are played and then repeated an octave apart, echoing another hellicopter scene, this time with Paul Newman! Clever, this Mr. W., what?

Can't remember the exact title at the moment (nowhere near my c.d. collection), but the first few bars of The Ark theme, as the door to Area 51 is opened does it for me every time. The Ark theme is much better represented here, than in IJ+TLC.

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At last, a sensible post.

I may be able to help you out with some of the personnel on these scores, Richard. I wrote an analysis of Williams's Earthquake score for this site a few years back and found a few titbits of info on the soundtrack personnel for that movie and some other Williams scores from the period. With regard to Cinderella Liberty, apart from Toots Thielemans on harmonica whom Koray has already mentioned, the score benefited from the guitar playing of Dennis Budimir who seems to have been Williams's guitarist of choice for many of his jazzier scores at that time (he also played on The Paper Chase and Earthquake, for example, the latter alongside the legendary Tommy Tedesco). You will find that Lalo Schifrin, Jerry Fielding and others featured Dennis Budimir in many of their best scores in the 70's too. Earl Palmer was the drummer and, perhaps most interestingly of all, Brazilian percussionist Mayuto Correa performed on the soundtrack. He was/is considered as one of the world's best jazz percussionists (especially on the congas - check out the track New Shooter) and also performed for Isaac Hayes on the soundtrack for Shaft, for example. Here is a picture of Mayuto: It looks like he's on Facebook, so perhaps someone familiar with the workings of that social networking tool can give him a prod, a poke or a slap or whatever it is one does. On Earthquake, the main pianist was Clare Fischer (who is a man, by the way) with other personnel including legendary session players Shelly Manne (drums) and Vince de Rosa, who seems to have played french horn on just about every Hollywood score ever written! The percussionist on this score and Paper Chase was Emil Radocchia (otherwise sometimes known as Emil Richards), another regular collaborator with Lalo Schifrin and other 70's and 80's greats. Unfortunately I do not know who was responsible for the fabulous sax playing on Cinderella Liberty, but I hope the rest is of some interest. It is a real shame that the soundtrack personnel are not routinely listed in all Williams CDs, although it is pleasing to see that many of his recent releases have a full listing. Ooh er, Omen II, this is AMAZING!!! Thanks a lot. And now another quick question; does anyone know where you can get the full version of "The Eleventh Commandment" without dialogue, or effects?

mahler3, I can comfirm this, as I watched The BAFTAs on T.V. in early 1976, and saw J.W. collect his award.

Does anyone know who the session players were for "Cinderella Liberty"? There is some really good playing on "poppier" numbers such as "Neptune's Bar". Actualy, I could ask the same question for "The Paper Chase", and "Earthquake". Anyone out there got any answers?

I'm already begining to vomit at the thought of Zimmer completely ballsing up the "Alien" prequel! If any composer could suck the living soul out of a perfectly good film, it's Zimmer. The sooner he retires, the beter.

It is odd, isn't it? I remember J.W. being attached to a Robert Altman film, in the late 70s, called "Quintet". It goes without saying that Spielberg wanted J.W. to score "Poltergeist", but he had to turn it down because of "E.T." Does anyone know why J.W. did not score "The Color Purple"? I heard a rumour that Walker, the producers, et. al. dug their heals in and wanted Quincy Jones. Does anyone know the full story?

I'm with you, Stefan, on this one. The Intrada c.d. IS magnificent, and is one of J.G.'s best scores of the 70s, not to mention one of the finest "action" scores ever. The re-recording, however, is much better sonically, and is played by a much better orchestra. Like you, I have both, but, I would say that, if one has the Intrada, then it is not absolutely necessary to get this new release. I ,however, will be queueing up at Movie Boulevard on Monday morning...You pay yer money, and yer takes yer choice.

Alex, EVERYONE needs to work with Alberto Inglesias!!!!! This is an interseting post and one which I will follow regurlarly. My choice for composer would be either Eliot Goldenthal (what an absoultely superb score for "Alien3"?!), or, because he did a rather good job on "The Omen" (not to mention being tutored by you-know-who), Marco Beltrami. I really do think that Scott knows the pitfalls of doing a prequel, but if it is done well, and with integrety, I'm sure that it will make for a good, if not great, film. Scott has wanted to explore the Alien backstory for some time, and now it seems that he will get his wish. I wish him well.

"You don't work that way with John Williams"? You are obviously forgetting "The Rievers", "The Man Who Loved Cat Dancing", and "Rosewood", which were all last minute re-scores. Another good question would be: has J.W. ever had a score rejected, what film was it for, and was it ever re-used? In the 70s, I remember listening to a radio programme called "Starsound", which, one time, mentioned the non-score to "The China Syndrome". Apparently, a score was written by "a major Hollywood composer", but was unused. The only use of music in the film is a song called "Somewhere Inbetween" by Stephen Bishop, heard on the radio when the film crew is travelling up to the power plant. P.s., I am convinced that I once saw a teaser poster for "Lost In Space", with Jerry Goldsmith's name on it.

Sorry I mentioned it!