lairdo

The track is on Tidal too, in Master quality. https://tidal.com/browse/track/142439896

I would love him to record 60 minutes of his favorite piano pieces. I really think that there would be a market for it. I love some of the old videos of him playing with the Boston Pops. And I am so happy he is doing well and sending his warmth into the world. We had our graduation for the Cinema School on Friday too, and we got Ron Howard to drop in plus a number of other celebs, so it's great for the kids to have some sort of surprises like this. At least there is some extra bits for them.

While I agree that order generally does not ultimately change the end experience since most of us (all?) will end up digitizing the release and therefore can have any and every combination of tracks we desire through playlists, we can think about possible reasons in categories. 1. Legal/Licensing In this case, it might be that the ability for Intrada, La-La Land or any other label to release the expanded edition is because they have licensed the original album (or even had it previously) and are expanding this. As such, the license holders might require the album tracks to be sequenced first 2. Space/Logical placement When the releases span more than one disc, this might play a factor as to where the tracks go so as to best utilize the disc layout. For example, in the case of Saving Private Ryan and Schindler's List, I am not sure another arrangement would have made much sense other than to sequence the OST first and the few extra tracks second. 3. Mike's preference Even if we all rip the discs and combine the tracks as we see fit, I suspect Mike might have a preferred listening order. Or it might be that Mike (or the publisher) thinks the marketability of the disc(s) is better with the album first or last or in between. 4. The Maestro's preference This one is probably a meta reason as I believe that John Williams, or at least his team, sign off on every aspect of these releases. Given that JW felt the materials for The River would allow for and be interesting as an album with its own arrangements, we can suppose that he likes the original presentation. And as such, this is what he feels is the best way to enjoy the themes and treatment of the music. Hence, put it first if he wants it. There may be other instances where he is less committed to that, and then the original album gets placed based on someone else's desire. (As a side note, recall that Superman's source music was relegated to the Superman II/III La-La Land release because presumably he or his team wanted only his music on that. In that release, while discs 1 and 2 focused on the score and alternates, the remastered OST had its own disc regardless of numbering.) I think another, separate question is "why" did The River originally get this treatment of an extra recording day, and the work done to compose, orchestrate and ready the parts for recording them? We know from the linear notes that Universal was banking of the film being a big success: Mark Rydell coming off On Golden Pond, Sissy Spacek off of Coal Miner's Daughter, topical story, Mel Gibson's first US movie, and John Williams in the glow of successes (films and music releases) such as ET, Raiders, Superman, Star Wars and Jaws + his very visible Boston Pops appointment and broadcasts + his triumph at the LA Olympics. Were these factors enough to create what amounts to a special version of the score? Did JW push for it because of what it represented to him and showed his abilities in a different light than the summer blockbusters? Interestingly, as far as I can determine, The River's music only shows up in 3 groups of releases: 1. The OST/Expanded release; 2. A series of MCA Record compilations of JW's music for MCA/Universal that were released in various countries; and, 3. the 4-disc collection from Silva Screen and Silva's variants of their various re-recordings (such as a Mel Gibson's movie music). I do not think JW ever recorded this with the Boston Pops. Did he play it at a concert though? I find trying to search the BSO/BPO old programs an exasperating experience, so I have not tried to find out. Lastly, all this aside, I found listening to the whole album in sequence yesterday completely enjoyable. Both OST and score presentations are rewarding.

By the way, as always, entertaining and informative liner notes from Mike. Not super long, but a nice combination of the history of the film and context + tech notes on the recording sessions and how the release was mastered. I haven't listened fully through yet, so cannot say I have any overall reactions yet (other than really enjoying it). Interesting how far right the guitar is in some tracks, and I think I get a bit of a Georges Delerue feel for some reason on some tracks. (Which is not a bad thing.) But overall just lovely Williams Americana sounding wonderful on my system.

Sorry no cat, but I have the disc in my hands! Moments away from enjoying it (until the next meeting starts anyway) - but not complaining that I can work from home.

Mine is in my mailbox! Will my meetings ever end?

€0.84 was my refund! I suspect due to the timing of the order? Also, depending on what was ordered?

I received a tracking number this morning!

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us. And then there are the Modal Nodes on the shelf as previously mentioned... I mean, how lucky are we to get to have this music in our lives?

Great stuff. I would point out their re-recordings of Spellbound and Dial M for Murder as worthy of sampling too. Broughton's Silverado too. Oh, and ordered The River. I added in Intrada's re-recording of Julius Caesar too since I did not have that one (conducted by Broughton).

Awesome. Feels right now. Looking forward to all of us having the missing piece as soon as we can get it from Intrada.

I love that you have your albums in chronological order (vs my very boring alphabetical by film/TV followed by the compilations and then the concert pieces). But are your Jedis out of order? Shouldn't the Disney one come after the sleeved one?

While I fully expect this to available via US and other country local retailers, I ordered to ensure I get at least one copy! As for the CD and Blu-ray release, I wonder what the digital strategy will be. For example, will the video be released for streaming platform purchase (Apple TV, Amazon Video, Google Play)? And assuming the audio at least reaches Spotify etc, will it be the CD 80 mins or all of the audio including the Blu-ray tracks. DG has been good about releasing day and date, so I assume that will continue here. It's amazing to think about the impact Anne-Sophie Mutter has had on JW. First a concert piece, then the ATS arrangements and then album and then concerts (sadly Pittsburgh is now delayed) to appearing on video! Really wonderful. I know that Vienna may have been planned to be recorded in 2018, but it may not have been, and her presence may have pushed this over with DG to do.

Yeah I phrased that wrong! I meant that the overabundance of scores that contained a dearth or music!

Just been listening again to the original release, and as always, I like it. 38 mins on the original release which was not horrible in 1984 - certainly better than the dearth of 28-30 min scores we were getting then! I'll throw out a guess that we'll get the remastered soundtrack and then the tracks that are not on that from the film will be the "extras." So, for a complete film presentation, we have to create our own playlist. That in no way is a complaint if I am right. Just heard Tractor Scene. Feels like a track on the The Post. Or I guess the other way around.