fommes

Again mockup from the Prisoner of Azkaban. This is the earliest version (which was in the score) of 4M3+4 cue. The second half is no different from the final version, so I cut it out. If possible, I will continue to make mockups from POA 
 

I make mockups pretty badly, but I made it anyway .  In this post I described in more detail about this music. This is early version of music that sounds in one scene from Prisoner of Azkaban. Here are the real orchestral recordings combined with my mockups.
 

Well, the "new" sets seem to be available in Europe. Here is the German release. I bet this has the isolated score (not confirmed!).
 
Karol

I pre-ordered through Amazon, using the JWFAN link.  That means I'm covered for the next fundraising campaign.
 

Definitely!  I'll get to it as soon as I can

I think the Kunzel recordings are of very high quality and Williams himself would often acknowledge this. The Spielberg Tribute album is solid, yes, but cues like Empire of the Sun don’t suit the bombastic finishes Kunzel used to favour in the bespoke arrangements. The Sugarland Express performance is superb though and improves upon the OST for me.
 
Some of the 80s albums (Fantastic Journey / Star Tracks / Time Warp) featured outstanding performances. E.T. & The Last Starfighter in particular.
 
The 90s albums became obsessed with hi-if speaker destroying (!) sound effects and weird surround sound gimmicks, however some selections were very good.

It is for me. This and Potter 3 are easily my most favourite Williams scores of the past decade.

99% chance this movie does not happen.  If the 1% chance is realized and it does happen, 99% Williams does not score it.  Of course, there is only a 10% chance my numbers are correct.

This isn't directed at anyone. I'm just passionate about this subject lately...
 
On top of what Jay said, it's likely not often feasible for LLL to print an entire run. Sure, some are likely going to sell out quickly like Jurassic Park, which hasn't had a proper release since the OST unless you count the digital expansion back in 2013 or whenever. Even a score like Superman, which is undoubtedly at the top of many fans' lists, is questionable to sell out its entire run quickly.
 
My wife has a small business and inventory management is easily the MOST complex part of what she does. Easily. She doesn't have to deal with half the mess that the specialty labels do. They have to deal with the studios, union rules, finicky pressing plants, composers (even when not legally obligated to), etc. Even if they *could* get an entire run of 3-5,000 printed on Day 1, it would be financially insane in most circumstances.
 
You could be a small label, spend THOUSANDS up front to produce a release and then sit on it for months or years due to factors completely out of your control.
 
On top of that, they have to send out replacement discs because the wrong cue was included on a 4-disc set full of Star Trek music that I never would have imagined I would have ever been able to own. It's possible that a single disc replacement like that could end up eating up a release's profits. I honestly wish they could have just made the single track available for download or if not legally permitted, just said, "Hey guys, sorry about that. Honest mistake. We will throw it on the next "odds and ends" Trek disc if you're desperate for that one cue from a random Voyager episodes from 20 years ago..." or even, "Sorry all! Little error there but hope you enjoy the cue that's there in its place."
 
But if they had done that, the message boards would have been on fire with people complaining that they paid for that cue or it was the one cue they wanted and wouldn't have bought it otherwise 
 
Oh my God! The dinosaur on JP doesn't have teeth... you get the idea.
 
The profit margins on these sorts of releases (usually) are so razor thin, the smallest issue or delay can be the difference between profit and loss.
 
As a lifelong lover of film/television music, I couldn't be more grateful for the labels. These folks put their hearts and souls into a passion and we are the beneficiaries of it, all the while being the most finicky, particular, unsatisfied group of customers any business could want. And that's fine. We are passionate too. Nobody is perfect, but I have to think it can be disheartening to put countless hours and thousands of dollars into a release and then hear complaints that someone can't hear the last 0.35 seconds of cello fade out like they could on a 30 year-old OST album or how the squeaky orchestra chair sound was removed and someone loved that or whatever.
 
Sorry for the long rambling post. It isn't directed at anyone. Things are tough for a lot of people right now and these labels have brought me more wonderful music than I could ever imagine. I am fortunate that I'm still working right now and I've made it a point to try to spend a little extra lately on releases I had put off getting. If it takes a little longer for them to arrive or they arrive with a cracked case, I couldn't care less.  
 
If you would have told me 10 years ago that I would own deluxe editions of every Trek film, every bit of TOS music, TAS music, plus numerous hours of TNG and all the others, I never would have believed you. Don't even get me started on all MM's work on Williams' music. Are you kidding me? It's like having one of us having the keys to the kingdom. 
 
I truly don't think we film score fans realize how fortunate we are.
 
I'll step off my soapbox now.

Composers have been writing great pirate music for decades before Zimmer came along and started writing bad pirate music.

The 2-hour documentary is nice...and with lots of really cool archival footage... but you get a real sense no one liked The Last Jedi...especially Daisy Ridley.
 
Karol

I've upgraded my previous YouTube video of the Born on the Fourth of July "music video" by replacing its original (poor-quality) audio with the corresponding track from this 2-track promo CD:
 
 

One of the following:
 
The Painted Veil
The Golden Compass
Godzilla
Monuments Men
Isle of Dogs
The Ghost Writer
The Queen
The Imitation Game
 
Karol

It's actually the Disc 1 version that has an "aaaahhhhh"-ing female choir from aroind 1:31.
 

IIRC the album version is one take all the way through, while the film (and therefore LLL disc 1) version is mostly that same take, but they intercut to a different take for a small section for a performance issue - I just don't remember where

For over 30 years of the 88 that you have been around, I have have been enthralled by your music. I have listened to it for countless hours. I have formed many friendships because of it, and it has impacted my life in ways that are simply undeniable. 
 
Thank you John Williams
 
Thank you JWFAN.
 

Here are links to recordings of our “world premiere” live performances of “Hassle in the Castle” and “Mambone”, as well as the SCHINDLER’S LIST pieces and “Duel of the Fates”. As Thor mentioned, the sound quality is not terrific, and the balance is a bit off here and there.   And PLEASE NOTE: We are not the LSO, VPO, or Hollywood studio musicians – just a bunch of people playing an instrument in our spare time. Please keep that in mind when you listen. There IS some shaky stuff in there.    “Hassle in the Castle”: https://www.dropbox.com/s/7xzhxm17jb669u3/Hassle_in_the_Castle.mp3?dl=0   “Mambone”: https://www.dropbox.com/s/ee0ug3ofsm1yz4k/Mambone.mp3?dl=0   “Jewish Town”/”Theme” from SCHINDLER’S LIST (violin: Aja Humm): https://www.dropbox.com/s/oqb0dhle3ktqelq/Schindlers_List.mp3?dl=0   “Duel of the Fates” (this is a shorter version than the original, and with some noticeable differences in the instrumentation – for instance, there is a very prominent snare drum part): https://www.dropbox.com/s/b7av098b8kmyzo7/Duel_of_the_Fates.mp3?dl=0  

Happy Birthday Maestro @88..... 
 
[just saw this on my facebook Sony Classical page] 
 
https://www.facebook.com/1497289083843603/posts/2489944331244735/
 

One funny detail from the Sunday concert. After all these encores, Johnny made his usual go-to-sleep-gesture!!  This concert started 11 a.m.😜😜😜

'twas alright. As a replacement for Dirk Brosse, this William guy wasn't the worst.
 
Karol

We're about to drive for the airport. I'm actually kind of nervous. This is crazy. 

Way ahead of you.

Tracks on JW OST albums that are 100% recorded just for the album:
 
Checkmate
The entire album  Diamond Head
The entire album How To Steal A Million
The entire album Not With My Wife, You Don't!
The entire album Penelope
The entire album other than the title song Fitzwilly
The entire album Earthquake
The entire album Jaws
The entire album The Missouri Breaks
The entire album Star Wars
Princess Leia's Theme The Fury
The entire album Superman - The Movie
March of the Villains Love Theme from Superman, though this also plays in its entirety in the end credits of the film after the End Credits cue The Empire Strikes Back
The Imperial March Yoda's Theme E.T. The Extra-Terrestrial
Abandoned And Pursued E.T. And Me E.T.'s Halloween Flying Over The Moon Monsignor
The Meeting In Sicily At The Forum Return of the Jedi
Luke And Leia Parade Of The Ewoks Lapti Nek (Jabba's Palace Band) The Forest Battle The River
Growing Up The Pony Ride Love Theme from The River The Ancestral Home, though this ended up getting used in the final film From Farm to Factory Young Friends Farewell Home Alone
Star Of Bethlehem (Orchestral Version) Have Yourself A Merry Little Christmas - this special version of the song specifically recorded for the album (the 2015 La-La Land edition premiered the actual film cue version) Home Alone 2
Somewhere in My Memory Star of Bethlehem Christmas Star Schindler's List
Jewish Town (Krakow Ghetto - Winter ’41) Amistad
Cinque’s Theme The Phantom Menace
Anakin's Theme, though this also plays in the end credits of the film after the End Credits cue Angela's Ashes
Angela’s Prayer Plenty Of Fish And Chips In Heaven The Lanes Of Limerick Harry Potter and the Sorcerer's Stone
Prologue (see more information about the Children's Suite below) Fluffy's Harp (see more information about the Children's Suite below) Attack of the Clones
Across The Stars Harry Potter and the Chamber of Secrets
Fawkes The Phoenix The Chamber of Secrets Dobby The House Elf Revenge of the Sith
Battle of the Heroes Memoirs of a Geisha
The Chairman's Waltz Indiana Jones and the Kingdom of the Crystal Skull
The Raiders March (new recording of 1980 arrangement) Call Of The Crystal The Adventures of Mutt Lincoln
The People's House With Malice Toward None Elegy With Malice Toward None (Piano Solo) The Book Thief
Max and Liesel The Force Awakens
Rey's Theme The March of the Resistance Scherzo For X-Wings The BFG
Overture The Last Jedi
The Rebellion is Reborn The Rise of Skywalker
The Rise of Skywalker Anthem of Evil (possibly - no confirmation yet)  

 
 
Tracks on JW OST albums that combine film cues with album-only recordings :
 
The Return of the Jedi
Han Solo Returns (At The Court Of Jabba The Hutt) is in actuality a portion of the film cue 3M2 The Big Thaw [0:00-2:47] combined with a portion of the album-only concert arrangement Jabba The Hutt [2:47-end].  The actual full recording of Jabba The Hutt remains unreleased to this day Ewok Celebration and Finale is in actuality the album-only recording Ewok Celebration [0:00-1:56] & the film cue End Credits [1:56-end] Home Alone
Home Alone Main Title ("Somewhere In My Memory") is in actuality the film cues 1M2 Home Alone (Main Theme) [0:00-1:04] & 2M2 Banished to the Attic [1:04-1:32] & the album-only recording Somewhere in My Memory (Album Intro) [1:32-2:31] & the film cue 11M4B End Title Part II [2:31-end].  The 2015 La-La Land expansion finally presented just Somewhere in My Memory (Album Intro) & 11M4B End Title Part II together without the 1M2 & 2M2 bits as Somewhere In My Memory, disc 1 track 1. Jurassic Park
Theme From Jurassic Park is in actuality the album-only 3M2 Record Intro & the film cue 3M2 The Dinosaurs & the album-only 3M2 Wompi Ending Harry Potter and the Sorcerer's Stone
Diagon Alley and The Gringotts Vault is really a portion of Children's Suite track Diagon Alley & the film cue 2M4 Diagon Alley Hogwarts Forever! and The Moving Stairs is really the film cue 4M5 The Moving Stairs & Children's Suite track Hogwarts Forever Harry Potter and the Prisoner of Azkaban
A Window To The Past is in actuality a unique recorder solo & portions of the film cues 7M12 End Credits & 4M3+4 New Woods Walk and Birds Flight & 7M2 Insert A.I. Artificial Intelligence
The Search For The Blue Fairy is in actuality a portion of 7M1+2 (Vocal Version) Finding The Blue Fairy [0:00-2:28] & a portion of Theme #2 CD version [2:28-end] Catch Me If You Can
The Float is as combination of the album-only 7M4 Front Extension with the film cue 7M4 Frank and Carl with the album-only 7M4 End Extension Recollections (The Father's Theme) is possibly also a film cue with album extensions? Memoirs of a Geisha
The Journey to the Hanamachi is in actuality a portion of 1M1 Alt The Opening [0:00-1:58] & an album-only recording called Theme [1:58-end] War Horse
Learning The Call seems to combine a portion of 1M7 Learning the Call [0:00-0:43] with album-only material [0:43-1:56] with a portion of 1M8 Whistling Montage [1:56-2:28] with more album-only material [2:28-end] Lincoln
The Southern Delegation and the Dream combines the film cues 3M18 The Southern Delegation Arrives [0:00-2:06] and 7M51 Lincoln Responds To Southern V.P. [2:06-3:05] with the album-only cue Prayer (Strings) [3:05-end] The BFG
Dream Jars is in actuality a series of album-only flute pieces and some of 4M37 Flute Sweeteners [0:00-2:18] followed by a most of the film cue 2M18 Dream Jars [2:18-end]
The Post
Mother and Daughter seems to combine the film cue (as heard on the FYC album) with unique album-only material afterward The Presses Roll seems to combine the film cue (as heard on the FYC album, though the ending of Setting The Type is tracked over the end there) with unique album-only material afterward  
 
Notes on other OST tracks that look like concert arrangements, or got published for concert performance, etc... but are actually 100% film cues:
 
Star Wars
Main Title is in actuality 1M2 Main Title & 12M2 End Titles Superman - The Movie
Theme From Superman (Main Title) is in actuality 1M1 Main Title & End Title 1941
The March From 1941 is an edit of 14M2 End Credits Swing, Swing, Swing is a film cue, 7M4 Swing, Swing, Swing Finale is 14M2 End Credits without edits The Empire Strikes Back
Han Solo and the Princess is a film cue, 5M4/6M1 Solo And The Princess Raiders of the Lost Ark
Raiders of the Lost Ark is 12M2 End Credits Part 2 Marion's Theme is in actuality two film cues, 10M4 En Bateau & 4M2 To Cairo The Raiders March is an edit of 12M2 End Credits Part 2 Indiana Jones and the Temple of Doom
Short Round's Theme is a film cue, 3M3/4M1 The Elephant Ride SpaceCamp
SpaceCamp is the end credits The Witches of Eastwick
The Dance of the Witches &  End Credits (The Dance of the Witches Reprise) are both identical presentations of End Credits Indiana Jones and the Last Crusade
Scherzo For Motorcycle And Orchestra is the film cue 7M2 Keeping Up With The Joneses is the film cue 9M2 Schindler's List
Theme From Schindler's List is in actuality 20M3 Placing The Stones Remembrances is in actuality 20M4 Alt End Credits Remembrances (With Itzhak Perlman) is in actuality 20M4 End Credits Theme From Schindler's List (Reprise) is in actuality 20M4 Piano & 20M4 Extension Sleepers
Hell's Kitchen is actually the end credits (8M5 New Hell's Kitchen) Rosewood
Rosewood is in actuality 1M1 Rosewood & End Credit The Lost World
The Lost World is The Lost World (End Credits) Finale & Jurassic Park Theme is a portion of 14m2 The Saving Dart & a new recording of a concert arrangement from the first movie (not recorded during that film's sessions) Saving Private Ryan
Hymm To The Fallen & Hymm To The Fallen (Reprise) are identical presentations of 17M2 Hymm To The Fallen The Phantom Menace
Duel of the Fates is actually 7M3 End Credits Angela's Ashes
Theme From Angela's Ashes and track Angela's Ashes Reprise are identical presentation of the end credits The Patriot
The Patriot is End Credits with the ending missing The Patriot Reprise is End Credits with the ending intact A.I. Artificial Intelligence
Abandoned in the Woods is in actuality Opening End Credits Harry Potter and the Sorcerer's Stone
Harry's Wondrous World is 9M3 End Credits Part 1 Hedwig's Theme is 9M3 End Credits Part 2 Minority Report
Minority Report is in actuality 8M2 End Credits Sean's Theme is in actuality 8M1 Alt Piano Version A New Beginning is a repeat of the second half of 8M2 End Credits, with a loop inserted. The Terminal
The Tale Of Viktor Navorski is in actuality End Credits Jazz Autographs is in actuality End Credits Part II  "Destiny"... "Canneloni"... and the Tale of Viktor Navorski (Reprise) is in actuality 7M4 Destiny... Cannaloni & a repeat of End Credits (edited) A Happy Navorski Ending! is a portion of 5M4 Amelia (already heard in OST track 2) & End Credits Tango Ending (unique to this track) Indiana Jones and the Kindgom of the Crystal Skull
Irina's Theme is really just portions of 1M4NR Irina Spalko & 3M28 Russians Reappear & 7M56 End Credit  The Adventures of Tintin
The Adventures of Tintin is in actuality Tinker-Tin Rev (the third Main Title cue attempted) Snowy's Theme is in actuality Snowy's End Title The Secret of the Scrolls is in actuality a bunch of film cues edited together The Adventure Continues is in actuality Dueling End Title Lincoln
Freedom's Call is actually 7M60 Hymm Version [0:00-4:46] followed by 7M52v3 Lincoln's Battlefield Visit [4:46-5:55] and the final chord of 4M30v2 The Telegraph Office [5:55-end], which incidentally is also heard at the end of OST track 2.      
 
These scores are confirmed to have nothing recorded specifically for album use
Close Encounters of the Third Kind Jaws 2 Dracula Empire of the Sun Always Stanley & Iris Hook Far and Away War of the Worlds  
 
 
Not yet factored into this list / I've never analyzed these albums at all:
Cinderella Liberty The Eiger Sanction Images The Towering Inferno The Accidental Tourist Born on the Fourth of July Presumed Innocent JFK Sabrina Nixon Seven Years in Tibet Stepmom Munich  
 
The rest of the film scores JW composed had no OST album, so everything released when the specialty labels got to them was recorded for film use (as far as we know).

@Marian Schedenig 's flat?