TownerFan

Maybe they had some kind of contractual obligations to reproduce some of the contents of the original albums (also pertaining to the choice to not cross-fade between tracks), but this would not explain why this applied only to this track and not to "Well of the Souls", "Marion's Theme" or "Indy's Very First Adventure".

Like many others, I've waited 24 years for expanded ToD and 19 years for expanded Crusade. I think I can wait a couple of weeks more.

What a wacky way to end a CD. I'm wondering if they tacked the classic Raiders March end coda just to give the feeling of some sort of closure. If not, then they really thought about the people who will make their own personal edits...

That's what I just asked to Jeff.

It's not fake. Intrada's people are guys to trust (and film music fans).

The initial impressions basically confirm the track timings that were provided are accurate, so all the speculations we did were right on the money. I can't wait to have my copy in my own hands!

The LSO brass playing in those years is simply amazing to my ears. Yes, it's harsh, but its own little imperfections make the performance really alive. The nuances they bring to the recording are impressive. There's a section in "Desert Chase", when the trombones kick in the Raiders B Theme, where the intonation is so great and thrilling that I always smile like a kid when I'm listening to it.

If you're referring to the "Inscription on the Rock" cue, no, it's not there. That scene uses the Grail theme and the Father/Son Variation theme.

Indeed.

Elfman's Batman Theme is clearly modeled on Bernard Herrmann's Journey to the Center of the Earth. It's obviously an homage, not a rip-off. In fact, it's very likely Jeff Atmajian's choral writing, who orchestrated both Hellboy II and Lady in the Water.

Yes, the Grail has its own theme in LC. The Henry/Illumination Theme is used as a commentary to Henry's quest for the Grail and its own spiritual meaning, which in the end is the discovery of the Illumination and a renewed sense of the Father/Son relationship. Its use in KOTCS during the final sequences is meant to make a reference to this meaning. In fact, it starts just after Indy calls Mutt for the first time "Junior", acknowledging his fatherhood and that now he's becoming the mentor. It's a kind of rhyme that Williams and Spielberg probably wanted to enhance with the music.

Well, yes, it's a bit confusing and the use of that theme in KOTCS redefined its actual meaning, even though I always related it also to Henry's noble quest for the Grail.

There are at least FOUR different themes that Williams uses to illustrate the Father/Son relationship: . Father/Son Theme (aka "Keeping Up with the Joneses") -- albeit almost completely removed from the final cut, this theme is used as a characterization for Indy and Henry mutual rediscovery of their relationship. . Father/Son Theme Variation (as heard in "Inscription on the Rock", the beginning of "Canyon of the Crescent Moon" and "Finale") -- 7-note motif derived from the more developed Father/Son theme. It's used as a more somber, wistful musical depiction of the Indy/Henry relationship. . Henry's Theme/Illumination Theme -- this one is used more in relation to the Henry's character and his noble quest to find the Holy Grail, but in the end becomes also a sort of variation for Henry's discovery of the "Illumination", which in metaphorical terms stands for his renewed relationship with Henry Jr. (as happens also in KOTCS between Indy and Mutt) . Scherzo Theme -- exciting theme used to underline several of the Father/Son adventures during the film.

Yep. Spielberg REALLY didn't like what JW was writing for that scene apparently! The Father/Son theme (aka "Keeping Up with the Joneses") was almost completely removed from the film. It appears only on a couple of cues in the final cut ("Blasphemy" and "To the Blimp", if I remember correctly). Spielberg and Williams probably preferred to avoid a too characterized thematic underlining for that aspect and preferred to rely more on the Indy theme and the Henry/Illumination theme. However, we should be glad that Williams decided to keep it for the OST album.

It never happened to me so far

I would have paid real money to see the faces of piccolo/flute players when they got the score with their parts This is a helluva fun, exihilarating piece, definitely one of Williams' best when it comes to action scoring.

On Play.com the price is now down at € 41.99 (with free shipping in all EU countries).

I too believe it's hard and probably unfair to complain about this boxset. We're getting a huge amount of unreleased stuff that until a few months ago all of us could only dream about. So, even though I have a few reservations about some choices (edited "Desert Chase", incomplete ToD finale and a couple of tracks that will still remain unreleased), I really can't wait to have this set in my hands and be able to finally blast all five discs on my stereo system for my listening pleasure (and also compile my own personal editions of all of them )

Yep, I trust Ricard, so I tend to think he got an official confirmation

Well, yes, but since nobody still has got the discs, the only way they could have got the track timings is directly from Concord. But no other sites nor Concord official page still lists the durations. I'm just taking it with a grain of salt, as I did with all the unconfirmed news concerning this boxset so far.

It looks like a promotional featurette for the boxset release and not an excerpt from the actual interview track on disc 5. Johnny with the Fedora looks so damn cool Another thing: track timings are not listed on the back covers, so I don't know how ExLibris could have got them. I'm still not 100% convinced that those are the real ones (even though they look pretty spot on).

And what a great music he wrote! It's one of the busiest, frenziest JW scores ever. A crazy, ebullient score. It's like Williams was heavy on caffeine in the days we composed it. The temple chant was treated more or less as source music. The interesting thing is that Williams' cues for these sections weave in and out of it in a very flowing way, cleverly fading the crossing lines between source music and underscore. I don't know if it's possible to actually reconstruct all those sections as they are heard in the film for CD presentation without eschewing a lot of repetitions of the temple chant. The original "Sanskrit Ceremony" piece was written and recorded before the filming and it was used on set during the shooting. Williams then composed several transitional underscore cues with orchestra and choir to accompany and enhance the Thug Ceremony sequences.

Yes, for me it has always been obvious, but I can see somebody could be confused about it. I too think it's not so unlikely we'll get the actual ToD end credits on disc 2, as KM and Jason have just said.

You're right. "Finale and End Credits" on the OST is an editorially created concert suite, edited from the full recording of "Return to the Village/Raiders March/End Credits".

I suspect it was a test pressing that was meant to be for internal use only, maybe for approval by LucasFilm or Williams' camp. However, if those track timings are accurate, I don't have anything to complain about. The two things that bug me a little bit are the edited "Desert Chase" and the still incomplete "Finale" from Temple of Doom. But these are details in the end, I'm still very excited to have so much Indy music finally available.