Amer

So happy I managed to track down a sealed copy of this beauty:
 

 
Karol

The Varese Club CD batch is coming very soon. They just confirmed on their facebook page to me. I wonder if they have also a CD reissue of STARSHIP TROOPERS as a surprise...
 
 
 

Gosh I sure hope so. I screwed up not picking it up. Sometimes in the hobby, I’m asleep at the wheel or my focus is ebbing away. 

The Varese Club CD batch is coming very soon. They just confirmed on their facebook page to me. I wonder if they have also a CD reissue of STARSHIP TROOPERS as a surprise...
 
 
 

Karol

You guys are missing the BIG PICTURE here. I'm 100% sure this is the release Mike Matessino was referring to with these comments:
https://filmscoremonthly.com/board/posts.cfm?threadID=119230&forumID=1&archive=0&pageID=1&r=741#bottom
"More immediately there is a release that will be announced very soon that has been in the cooker for a long time, and I hope it will be well received for both what it is as well as for where it might potentially lead."
 
So yeah the way I read this is that bigtime Hollywood director/producer Frank Marshall (son of film/TV composer Jack Marshall, who worked with Mike Matessino to produce two previous albums of his father's music, and presumably helped get a note from JOHN WILLIAMS HIMSELF on the Thunder Road album) is using his Hollywood clout to help Mike Mattesino (and therefore La-La Land Records and other labels) access more things at Universal than were available previously... namely Universal TELEVISION (aka Revue), where his father worked and produced some music to mine for album.
 
Ever since the the Universal Classics series of mostly-premieres began half a decade ago, MV at LLL has been expressing hope of eventually getting into their TV holdings -- but this is the first time it's happened! (Yes, we had scattered examples before like Stu Phillips's Knight Rider work on FSM, but those were special cases.)
So Mike's "where it might potentially lead" could mean a set of Oliver Nelson's The Six Million Dollar Man scores, a title MV has expressed clear interest in. It could mean finally an official release of original music for Columbo, by Nelson/Goldenberg/Melle/DeBenedictis/etc.!
 
But it's not just about exciting 1970s TV music possibilities like those two titles. Not even remotely. Because we've heard composers like GOLDSMITH, WILLIAMS, SCHIFRIN, GRUSIN, and Quincy JONES reminisce about their camaraderie and time together working at Revue in the early-mid 1960s. These composers were in their PRIME back then, and there is now strong potential for PREMIERE releases of music in good sound, by ALL of them, from this important time period in their careers when they all had offices near each other at Revue and they were listening to what each other were doing. Oh and also...it wasn't just the new guys. Lots of amazing Golden Age veterans were also getting TV work at Revue during that same time period!
 
Now for The Munsters and The Deputy, Jack Marshall was THE composer as far as I can tell. No guest composers listed on IMDb anyways (thought that's not always accurate as we all know). But let's look at the other two series, because La-La Land and Mike Mattesino were able to access original Jack Marshall scores for WAGON TRAIN and THE VIRGINIAN for this release! That means they've got archive access to tapes for those series -- *they have both located and transferred tapes* for those two beloved western TV series, which ran for a whopping EIGHT and NINE seasons, respectively.
 
What premiere possibilities exist for those two series alone?
Well on The Virginian there were single scores by Franz Waxman, Hans J. Salter, Oliver Nelson, Patrick Williams, and Frank DeVol! Multiple scores by Bernard Herrmann, Fred Steiner, Dave Grusin, Russell Garcia, Morton Stevens, Harry Sukman, David Buttolph, Richard Shores, Lyn Murray, David Shire (some of his earliest Hollywood composing credits), and Leonard Rosenman! To say nothing of an amazing Ennio Morricone theme written for the final season when the show became "The Men from Shiloh"! What a lineup of talent!
 
But even that pales in comparison IMO to the potential of a Wagon Train set, folks... at least a HALF DOZEN original scores by none other than JOHN WILLIAMS! FIVE original scores by Jerome Moross (plus all the versions of his theme, of course). TWO original scores by JERRY GOLDSMITH! TWO original scores by Leigh HARLINE! FOUR by Ernest Gold! And, super exciting for me, a whopping SEVEN original scores by one of my favorite Golden Age composers, the underrated ROY WEBB -- these were actually his FINAL COMPOSITIONS for Hollywood!
 
Then there are a bunch of scores by other quality names like Morton Stevens, Lyn Murray, David Buttolph, Cyril Mockridge, Richard Shores, Conrad Salinger, Alexander Courage, Laurindo Almeida, Jeff Alexander, Hans J. Salter, Nathan Van Cleave, etc. And then single scores by perhaps bigger names like David RAKSIN, Frank SKINNER, Daniele AMFITHEATROF, Frank DeVOL, Gerald FRIED, John GREEN, Herman STEIN, William LAVA, and Lalo SCHIFRIN.
It is MIND-BLOWING to think of a potential 4CD set of premieres for this series... or hell why not go for a couple 4CD sets (and spread out the Williams and Goldsmith between them to help the sales)?
 
And then there are all the Revue series that Jack Marshall didn't work on as he did with those two. We could get a CD of 87th PRECINCT music by Morton Stevens + the single score for the series written by Jerry Goldsmith. We could get a CD of DESTRY, a short-lived single season western TV series with THREE original Goldsmith scores, plus a score each from Morton Stevens and Cyril Mockridge.
 
Then there are the anthology shows, with each episode treated almost like a mini-feature...
CHRYSLER THEATER had original scores by WILLIAMS, HERRMANN, SCHIFRIN, and GOLDSMITH, among others.
The various incarnations of KRAFT THEATER had original scores by WILLIAMS, WAXMAN, GOLDSMITH, SCHIFRIN, MURRAY, and HERRMANN, among others.
and oh yeah maybe even the original tapes could be found for...
THRILLER! SIXTEEN original scores by Goldsmith (which are much longer than the Tadlow suites would indicate), plus even more by Morton Stevens and Pete Rugolo (and one by William Lava).
 
There are many other fantastic 60s and 70s shows to consider as well, which I'm sure others here can supply. But the mind boggles at the possibilities...
 
Yavar

It's here:
 
How about some new title releases?? Will there be any this year?
 
We're opening the floodgates in a few weeks.
 
https://www.facebook.com/varesesarabanderecords/posts/pfbid02NCD7TqMYokcubu9y7Vj3hqHnUQif4JmoBrVQrnh8jLaXhsFDQabdSTfSpexx3MXwl?comment_id=941409087555854&reply_comment_id=1429184167842979

Jumping in a bit late on this but I think the primary issue isn't a phase differential, but rather, both channels of "Solitude" and "Nocturne" (and "Hunt Scherzo" and other cues as well) have a "comb filtering" effect which is causing the aural artifacts.  Comb filtering is the application of notch filters at a fundamental frequency and its harmonics (e.g., 60 Hz fundamental and 120 Hz, 180 Hz, 240 Hz, and so on), like teeth of a comb, which causes a periodic peak/trough shape (pseudo-sinusoidal) to the overall spectrum that colors the sound.  There could be other reasons beyond the manual application of a filter for the effect to occur.  (I've commented previously about the same issue marring the Intrada CD release of Robert Folk's In the Army Now score.)
 
The "white horizontal lines" mentioned by @Chewy in his post above, with the spectrogram graphic, represent the troughs caused by the comb filtering effect.
 
To visualize the effect differently, here are the left and right channel spectra for "Solitude", "Nocturne", and "Hunt Scherzo"...
 
 

I think JAWS 2CD coming back in print is the big news here..

I think JAWS 2CD coming back in print is the big news here..

I think JAWS 2CD coming back in print is the big news here..

I think JAWS 2CD coming back in print is the big news here..

I think JAWS 2CD coming back in print is the big news here..

That's a terrific batch! I can kick myself for gifting my copy of Maurice Jarre at Abbey Road years ago.

Another great title is KING OF THE KHYBER RIFLES - Also on the Gerhardt SACD album as a bonus. Id love to see this fully re-recorded next. Bill Stromberg has already done a cue as bonus on his MYSTERIOUS ISLAND cd set. The OST on the FOX and perhaps the Krizterland release is pretty much the same.

Fresh arrivals...

Update: we now have more info about the map scenes from the same source…
 
Therefore, Indy’s theme, Helena’s theme, and the Dial motif are fair game for the first sequence.
 
Indy’s theme and Helena’s theme are fair game for the second sequence.

Say what you want about the film, it sounds like JW responded in the best way imaginable.

1. I think the vibe seemed to me to be maybe Tintin-ish and maybe even Star Wars prequel-y, in the sense it is a very busy scoring style I think. The music often lurches and pirouettes to reflect the action on screen. The raiders march does sound good. It is played at length a couple of times in the film proper.
 
2. Maybe a mix depending upon the set piece. THe rickshaw set piece that you've seen in the trailers should have sounded more fun but sounds a bit serious like. I could definitely hear some Tintin in there I thought.
 
3. There is one of those famous map transition scenes where the music plays without almost any FX.
 
4. Hmm. It's a Williams score. So of course I like it. I want to listen to it on album. Frankly I am more interested to hear all the villain stuff again than Helena's stuff. I think the villain themes are good. 

Okay quick thoughts since I know you guys are waiting
 
End credits order is Indy fanfare for the main credits (that appear one at a time) Maybe 2-2.5 mins Helena's theme begins when the scrolling portion starts. Full suite played. Following that - seemed to be like another suite, going through as many as 4-5 themes. Most of these are sinisite / villain or macguffin themes. I think there are 2-3 villain themes and 2-3 macguffin themes. This is where the credits end, the Indy fanfare is not reprised after the villain suite. (This could be a film cue too). Some other thoughts 
 
Honest to god, score is mixed well. None of should be able to complain. I could hear it throughout, but was I paying attention to it all the time? That's a different question. Guys, I am at Cannes and let me tell you this is a very tough place to watch movies. You are always exhausted and can't always focus.  Helena's theme in the score proper is frankly okay. It kinda even sounds different than the suite. There are several villainous themes as I noted above, they are good. I couldn't detect a direct Dial theme - it has some motifs for sure but I dunno if I might call it a direct theme. But then again, my mind is half shot at this point. I think there are some straight lifts from Tintin. I think the Tintin End Credits piece is ripped off for one of the set pieces. Almost note for note. B part of Indy's theme is also used.  
If you have any questions, I can try to answer. But I'm in screenings all day long and don't really have much of a chance to check my phone.
 
Edit: orchestration and conducting is credited to Williams and Ross.

I can now finally say: Star Trek IV is here!
 

 

 

Fresh arrivals...

Fresh arrivals...