Jay 40,692 Posted December 2, 2016 Share Posted December 2, 2016 Hey, ya'll! People are starting to get their sets now so I figured I'd start a new thread where we can actually discuss the music of the set - as well as the liner notes, art direction, etc. The first thread is full of order status and shipping talk - which is fine! and should continue there - but once you get the set and want to talk about the actual contents, come over here! So far, here is the only posts about the actual set I've seen: 18 hours ago, Lockdown said: The sound is great! 5 hours ago, Selina Kyle said: I've only listened to TLW on my commutes. I'll say this. You guys won't be disappointed. I still won't have a chance to listen to it properly on my hi-fi until possibly Sunday, though there's a lot of work that needs to be done around the house so I'm still not sure. "Ripples" got a lot of replays. Anyway, gotta go. Let's hear some some!! Link to comment Share on other sites More sharing options...
Luke Skywalker 2,050 Posted December 2, 2016 Share Posted December 2, 2016 4 minutes ago, Jay said: People are starting to get their sets now so I figured I'd start a new thread where we can actually discuss the music of the set - as well as the liner notes, art direction, etc. Really? Link to comment Share on other sites More sharing options...
Popular Post Jay 40,692 Posted December 2, 2016 Author Popular Post Share Posted December 2, 2016 You Bred Raptors - so nice to finally have this!The Saboteur - OK. Probably the least essential cue from both scores, but still nice to have. A nice ominous atmosphere created, some nice instrumentation Race To The Dock - Man I love that rhythmic sound in the beginning, but of the course the explosive part at the end is freaking awesome and I've wanted it for 23 years! The Falling Car - So that's what the clean opening of the cue sounds like! Cool. The ending of this is NOT crossfaded into the T-Rex chase, they're easy to separate. The T-Rex Chase - Man, that brass! AND finally the full ending of the cue! Yes! System Ready - Another one of the least important cues in the score, but nice to have, especially for that flourish at 0:35 The sound quality so far is STUNNING - one of Shawn Murphy's best recordings? I'm picking up a lot of details I NEVER heard before! The synths seem to be more prominent than before perhaps, and often have a really cool sound to them. DemonStar, Amer and Will 3 Link to comment Share on other sites More sharing options...
Popular Post Jay 40,692 Posted December 2, 2016 Author Popular Post Share Posted December 2, 2016 Fire at Camp and Corporate Helicopters - Ooooh yea, such a great atmosphere. Oooh, Corporate Helicopters is awesome! Great introduction to the jungle drums, and menace of the Ingen guys. Oh, this is great stuff! The two cues work together as one track Big Feet - Another room-shaking bass opening! Nice cue covering the horrific aftermath of the round-up, you can feel the emotion of the scene in the music without needing to have the images playing in front of you. Good stuff Spilling Petrol and Horning In - Ohh yea, more jungle drums, love it. Oh that bit at 2:23 reminds me of High Wire Stunts at Hungry Raptor! Spilling Petrol is such a cool, scene-setting cue. Love the Island Theme at 3:12 also! The way Horning In comes in at 3:39 is completely different from what I expected based on the mockups. Wow! The part of this cue where they re-recorded bars that had been originally written for Rescuing Sarah sound different from Rescuing Sarah, which is AWESOME. This is a great action track!!! Up In A Basket - Wow, what an awesome sound of crushed nobility to start the track, so interesting! When the tone switches to heightened tension around 1:00 its really cool! The building up in the final 30 seconds or so is great! This is 3 1/2 minutes of Williams awesomeness that totally absorbs you in! In The Trailer - I'm kinda glad Matessino didn't join this to the previous cue, cause while it might have been Williams intention, its so cool to have that clean ending and this clean opening. Another stunning early action cue here. He's setting the plate for the first real big action cue to come in a little bit (Rescuing Sarah). This has a real cool section about 2/3s through where the action pauses for a bit, nice atmosphere there On The Glass - Williams builds and builds the tension for 4 minutes in a masterful way, punctuated with a great rhythmic middle section for Eddie outside with the jeep. Overall, this track is so incredible! And the best thing it does it make the triumphant release at the end of Rescuing Sarah even more cathartic after all this buildup Amazing. Rescuing Sarah - One of the best action cues of Williams' career made better by not having a minute sliced out of the middle. Awesome! The tolling bells for the T-Rex arriving is such a cool moment, and just adds to the building tension. As mentioned, the ending is all the more amazing now with 8 minutes building up to it instead of just 3. This is SO AWESOME Reading The Map - Another great scene setting track. OH MY GOD! The raptor theme from JP returning from 1:40ish-2:00ish is SO COOL! AWESOME!! Then it returns again later! This is GREAT!!! Judging by the way this cue ends, I think its meant to segue right into The Trek Rialto Ripples - Not just a highlight of unreleased music, but a highlight of the entire score! The first minute and a half we already had on the OST (kicking off Ludlow's Demise track), then there's another 2 minutes of buildup, ratcheting up and up... then the last 2 1/2 minutes of the track is a great action frenzy, I dunno how to describe it except maybe organized chaos? How about those chimes (?) towards the end.. so much other stuff. This is great! High Bar and Ceiling Tiles - Still loving the clean opening to this cue. Though its meant to segue from the previous, I'm so grateful we have the clean opening now! This is a great action cue. I love the false ending around 1:30, when you think its over, then the action comes lurching back in. The brass instruments are doing really incredible things in this track! Another absolute highlight of the entire score. I immediately wanted to listen to it again! Ludlow's Speech - Goes without saying that a lot of the unreleased tracks feature the Island's Voice theme, and this one makes good use of it too, with some cool jungle percussion. Oooh, a synth part in here reminds me of Dennis Steals the Embryos. Wow! The rushed buildup to end this track is incredible! One of the most intense moments of the score! Wow!!! Monster on the Loose - Oooh, so intense! This is such a perfect "the act 3 setup is now done, here we go into the big action finale" type of cue... awesome stuff. I'm not sure how I feel about the bars re-purposed in from A Visitor In San Diego..I would love to see Williams' original sketches to see if he originally had a different plan. Ludlow's End - Wow, sweet clean opening. Now, this is a cue that is ABSOLUTELY meant to segue from the previous one, and I wish Williams had done so on the original OST program to create an epic 10+ minute final action track out of "A Visitor In San Diego". It's easy enough for us to join it onto that now, and we get to hear the clean ending because he didn't so it ended up working out ok! I'm continually blown away by the sound quality here, this just sounds so incredible! The Saving Dart - OH, wow. That ending! It seems to be a synth choir, which I found a little strange - maybe since no other cues in the score had choir, and Spielberg wasn't going to use this ending for the film, they never recorded it with a real choir, but did a synth choir as a demo? Or was this Williams' intention to be synth choir? I have to rewind and listen to this again. OK, I really like the ending to this cue, it sets such an interesting and different town than the tracked in JP theme arrangement does. But something is weird here. It seems like there's an edit point right when it switches from what was on the OST to this part. Huh. The Lost World (Alternate) - I've always loved this alternate opening, no doubt! "Tranquilizer Dart and End Credits (Film Version) - so this is exactly the same as "Tranquilizer Dart" from 0:00-2:23, then it segues to the Island Theme, like in the movie, and continues from there to the end of the theme arrangement track. Basically replicating what you hear in the film, but edited better. Interesting. The sound quality of this set is truly and absolutely stunning from start to finish. These must be two of Shawn Murphy's best recordings ever! I must listen to the entire scores in chronological order now. Great editing job from Matessino from what I can tell so far. This is a stunning release. Pieter Boelen, Josh500, DemonStar and 3 others 6 Link to comment Share on other sites More sharing options...
Pieter Boelen 849 Posted December 2, 2016 Share Posted December 2, 2016 Your amount of enthusiasm there is virtually overwhelming! I'll look forward to hearing it all myself next week as well. Until then, please keep saying how great this all is! Link to comment Share on other sites More sharing options...
Will 2,282 Posted December 2, 2016 Share Posted December 2, 2016 Never really heard Lost World -- nor quite a bit of Jurassic Park, really -- but these enthusiastic descriptions make me super excited to receive the set! Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 2, 2016 Author Share Posted December 2, 2016 I am continually blown away by the incredible sound quality!!! I wish all film scores were recorded this well! So nice to finally have the clean ending to Incident at Isla Nublar It's really nice that the full endings of The Entrance of Mr. Hammond and The Coming Storm are allowed to ring out (each crossfaded to another cue on the 20th set) I love that final hit in Race to the Dock!! The clean opening to The Falling Car is interesting. I can see why Williams wanted to obscure on the OST by having another cue segue into it. I wonder if originally sketched out was a cue, that never got recorded, that would have lead into this. Cause this cue doesn't really start the way any Williams cue I've heard before does. I don't really know why The T Rex Chase was joined into this in the same track. I'll be separating it for sure after listening to it this way twice. Oooh. I really like the gentle opening to My Friend The Brachiosaurus that we didn't have on the OST. I might not join this into Remembering Petticoat Lane after all, this is quite a nice opening. Link to comment Share on other sites More sharing options...
Damien F 1,780 Posted December 2, 2016 Share Posted December 2, 2016 I would have always rated The Lost World as a four star score, but having listened to the full LLL release in chronological order, I think it has been promoted to 5 stars. The unreleased cues add so much to admire in terms of instrumentation use, tension building, and utilization of both new and old themes in really cool and interesting ways. Couldn't be happier with this release. One of the best JW releases from a specialty label. Incanus and Pieter Boelen 2 Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 2, 2016 Author Share Posted December 2, 2016 Totally agreed with all your points. The Lost World is such a long, detailed, and complex score, adding another 45 minutes to the 70 we already have seriously makes a dramatic difference. This score features some of his most interesting orchestrations! And the development of the Island's Voice theme isn't really captured properly by the OST program. Link to comment Share on other sites More sharing options...
Damien F 1,780 Posted December 2, 2016 Share Posted December 2, 2016 Do you get the sense that JW was purposefully restraining his writing throughout Horning In, Up In A Basket, In The Trailer and On the Glass until he finally allows himself to let loose in Rescuing Sarah? CuriousMan 1 Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 2, 2016 Author Share Posted December 2, 2016 Yes, I do, actually! I kinda sorta mentioned that above, but you have laid it out more elegantly. The Hunt is a big action highlight, but not its not quite the same thing as it doesn't really involve our heroes. But then the action in Horning In and Up In A Basket / In The Trailer, do in fact have a bit of a "holding back" feel to them until everything explodes in Pain of Glass & Truck Stop. Phenomenal. CuriousMan 1 Link to comment Share on other sites More sharing options...
Damien F 1,780 Posted December 2, 2016 Share Posted December 2, 2016 3:35 in High Bar and Ceiling Tiles Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 2, 2016 Author Share Posted December 2, 2016 yea! That was my favorite track of all the previously unrelased tracks. Some TRULY incredible stuff there - a highlight of the entire score! Link to comment Share on other sites More sharing options...
Damien F 1,780 Posted December 2, 2016 Share Posted December 2, 2016 Those rapid-fire trumpets at 2:55 also. My God!! Another cool point regarding the score in chronological order. The main theme in both 'To The Island' and at the end of 'Heading North' now basically bookends the time spent on the island, as opposed to on the OST when both cues were combined into a single track. 'Heading North' marks the arrival in San Diego. Regarding Ludlows's End, it was always very clumsily tacked onto the beginning of Ripples on the OST. That initial shriek from the piccolo was always very jarring after the low rumbles in Ripples. Definitely agree that the final thud at the end of Visitor in San Diego should be immediately followed by that piccolo at the start of Ludlow's End because there is absolutely no build up to that latter track - it already starts with all guns blazing so you feel like you're already in the middle of an action track rather than at the start of one, which is effectively the case in the film. CuriousMan 1 Link to comment Share on other sites More sharing options...
Luke Skywalker 2,050 Posted December 3, 2016 Share Posted December 3, 2016 what is the difference between the two 'welcome to jurassic park' versions? Link to comment Share on other sites More sharing options...
Damien F 1,780 Posted December 3, 2016 Share Posted December 3, 2016 I haven't listened to both in detail yet but I opened both in an audio editing program and the waveform for both tracks are almost identical with only very minor variations. Track 7 has a extra moment of silence at the end which accounts for the difference in track length. Perhaps they are different takes, but to me they seem 99% identical. Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 1 hour ago, Luke Skywalker said: what is the difference between the two 'welcome to jurassic park' versions? Extremely minor performance differences and edit points. CuriousMan 1 Link to comment Share on other sites More sharing options...
Damien F 1,780 Posted December 3, 2016 Share Posted December 3, 2016 I'll begin my edit with The Lost World concert version. I'm definitely using the film version of 'Tranquilizer Dart and End Credits'. I'm so accustomed to hearing the island fanfare at that moment and I don't like the darker version with the synth voices. I'll end my edit by following the credits with The Lost World (Alternate) and its badass opening. Link to comment Share on other sites More sharing options...
Meredith McKay 7,173 Posted December 3, 2016 Share Posted December 3, 2016 Do we know what scene "The Saboteur" was meant to score? Link to comment Share on other sites More sharing options...
crumbs 15,155 Posted December 3, 2016 Share Posted December 3, 2016 Oh my lawd this all sounds sooooo amazing. Sounds like The Lost World complete was rightfully atop my Holy Grail wishlist, given the comments here! Damien F 1 Link to comment Share on other sites More sharing options...
Damien F 1,780 Posted December 3, 2016 Share Posted December 3, 2016 7 minutes ago, crumbs said: Oh my lawd this all sounds sooooo amazing. Sounds like The Lost World complete was rightfully atop my Holy Grail wishlist, given the comments here! The second half of 'High Bar and Ceiling Tiles' is the biggest surprise for me. The action writing is extraordinary. Can't believe it's been sitting there for 19 years waiting to be heard. But all the unreleased cues from TLW are packed with cool moments and gems. Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 Oooh, good thing I happened to scroll up, none of this was here before! 4 hours ago, dfenton85 said: Another cool point regarding the score in chronological order. The main theme in both 'To The Island' and at the end of 'Heading North' now basically bookends the time spent on the island, as opposed to on the OST when both cues were combined into a single track. 'Heading North' marks the arrival in San Diego. Yes, FANTASTIC freaking point! I was just telling someone in the Last Score You Listened To thread that Williams actually only used the TLW theme in 3 film cues, and since he combined 2 of those together on the OST, that means the theme only appears on the OST in tracks 1,3, and 14, which is kinda nuts when you think about it. I think it shows a lot about the memorability of Williams' melodies, and his album programming strengths, that a lot of people probably didn't realize that. Anyways, I LOVE "Heading North" appearing where it does now, that theme appearing there, and the entire tone and feel of that track is perfect for that point in the film and score's story. Wonderful stuff. 4 hours ago, dfenton85 said: Regarding Ludlows's End, it was always very clumsily tacked onto the beginning of Ripples on the OST. That initial shriek from the piccolo was always very jarring after the low rumbles in Ripples. I agree. In fact, I think the only way to make Williams' OST better would be to take that track and move the Ludlow's End to the end of Visitor In San Diego making that one long track, and including ALL of Rialto Ripples in its own track instead. I'd even lose The Compys Dine track in order to make room for it. There's a hugely improved OST right there, especially because it's just WRONG to have the Ludlow's End music music play BEFORE Visitor In San Diego, especially at the end when it references that track. 4 hours ago, dfenton85 said: Definitely agree that the final thud at the end of Visitor in San Diego should be immediately followed by that piccolo at the start of Ludlow's End because there is absolutely no build up to that latter track - it already starts with all guns blazing so you feel like you're already in the middle of an action track rather than at the start of one, which is effectively the case in the film. Yes yes, a thousand times yes! Astute again! Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 To me, more than any other of his post 60's scores does TLW show off John Williams' jazz roots! It's a real ruckus! Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 1 hour ago, Fennel Ka said: Do we know what scene "The Saboteur" was meant to score? On 11/25/2016 at 9:11 AM, crumbs said: I wonder if it scored the quick scene with Nedry in the control room, surveying the embryonics surveillance cameras on his computer while Muldoon complains about locking mechanisms on the cars. The scene is only 25 seconds in the final film but maybe the cue overlapped with the next scene (Grant walks down the hill to the Triceratops paddock)? There's really no other gap in the film for a 50 second cue, barring Malcolm's water droplet test on Sattler. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 Love the use of the last 3 notes from the Jurassic Park opening cue in Reading The Map! Link to comment Share on other sites More sharing options...
Meredith McKay 7,173 Posted December 3, 2016 Share Posted December 3, 2016 The Raptor/Carnivore Motif? Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 Yes, but performed in the same way as the opening cue. Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 4 minutes ago, Stefancos said: Love the use of the last 3 notes from the Jurassic Park opening cue in Reading The Map! Freaking GREAT moment right there! Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 Just now, Jay said: Freaking GREAT moment right there! So much good stuff! Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 There really is. Possibly more so than I can think of when getting a new expanded score from Williams. Sure Hook and AI had more unreleased music, but we already had that music thanks to boots and promos, etc. And with TLW, the extra music seems to REALLY improve the listening experience more so than a lot of other expanded scores. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 I've always loved the OST, but this is just better. Link to comment Share on other sites More sharing options...
crumbs 15,155 Posted December 3, 2016 Share Posted December 3, 2016 Can anyone confirm if the cue that accompanies Kelly crying in the rescue helicopter is on the set? Presumably it's the end of High Bar and Ceiling Tiles? #SnowyVernalSpringsEternal 1 Link to comment Share on other sites More sharing options...
Jamie Dutton 7,695 Posted December 3, 2016 Share Posted December 3, 2016 I thought that was on the OST? The beginning of "Heading North", which was in "Malcolm's Journey" on the OST? Or am I full of shit? Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 17 minutes ago, crumbs said: Can anyone confirm if the cue that accompanies Kelly crying in the rescue helicopter is on the set? Presumably it's the end of High Bar and Ceiling Tiles? The release is complete. There's nothing missing. Of course what you're asking about is there (I haven't seen the film in a while so don't remember if the specific part you're talking about is at the end of High Bar and Ceiling Tiles, or the beginning of Heading North - or something tracked in from somewhere else) Josh500 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 Ludlow's Speech and Monster On The Loose are outstanding artguy360 1 Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 YES! The Stegosaurus is fixed! On the OST, as the first cue in the track was ending, the second cue came in early, cutting off the end of the first cue, and to boot, the second cue had its beginning cut off or faded in in a weird way. It was a bad album edit (like something from the analog days). On the new set, the first cue is allowed to ring all the way out, before the second cue starts cleanly. It sounds GREAT! Just compare 2:11 on the OST vs 2:15 on the new set. What a huge difference! ALSO! Visitor In San Diego is also fixed! On the OST, the ending of the first cue inside the track was quickly cut off to jump right into the second cue at 3:23. On the new set, the first cue is allowed to completely finish before the second cue starts at 3:26. Sounds perfect!! Josh500 1 Link to comment Share on other sites More sharing options...
Jamie Dutton 7,695 Posted December 3, 2016 Share Posted December 3, 2016 This is the only John Williams release from La-La Land in a while I've really been amped for, and it's mainly for The Lost World. Confession time. It's the only one I've cared about since Hook, which was a very flawed release. I really didn't give a shit about Empire of the Sun, A.I., Home Alone and Home Alone 2 and The Fury and Jane Eyre again, Rosewood, Amistad, the Kobe Bryant movie or whatever the fuck else they've done. Who cares? Not this guy. We don't want that. We want The Lost World, Harry Potter, the Star Wars Prequels, the E.T. Adventure and, of course, the Indiana Jones Trilogy. Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 7 minutes ago, Stefancos said: Ludlow's Speech and Monster On The Loose are outstanding Yea, seriously! Such amazing drama unfolding in this music! Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 Amazing how much the new music seems to improve a score I have loved for so long anyway. I don't think thats happened since Star Trek V's complete score release. 4 minutes ago, Selina Kyle said: This is the only John Williams release from La-La Land in a while I've really been amped for, and it's mainly for The Lost World. I'm sure thats the case for most of us, since we did get an expanded JP a few years ago, so we arent getting much in the wat of new music. Just a superior presentation. I assume thats why they decided to release the 2 scores in one release. Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 Yea, I know what you mean. I dunno if I've felt as big of an improvement from OST to more since getting the boots for ID4 and Hook and the DVD isolated score for Tomorrow Never Dies in the 90s; Those were about equal in "complete score improving hugely on the listening experience the OST had" for me. If we're talking just legit OST to legit expansion when there was no boot / leak / iso score in between, this might just be the best ever. Link to comment Share on other sites More sharing options...
Jamie Dutton 7,695 Posted December 3, 2016 Share Posted December 3, 2016 I like how TLW allows you to remove the sped-up version of the JP theme from the finale (just as Spielberg himself did), the weakest part of the entire score. It didn't dawn on me until I listened after the alternate TLW theme from the end credits that this set had the finale as presented in the film. No need for Williams' original intended version anymore. Buh-bye! Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 Yeah I'll be combining the 2 last tracks and ditching the end credits. Like like how I recreated the films end credits for my personal edit 17 years ago. Might include the unused snippet before the JP thene comes in though Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 That unused part is WEIRD, man! I can't figure out how I feel about it. Link to comment Share on other sites More sharing options...
Incanus 5,840 Posted December 3, 2016 Share Posted December 3, 2016 It certainly is a strange little change in tone at the end of the Tranquilizer Dart. Those ghostly synth voices and that elegiac tone. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,528 Posted December 3, 2016 Share Posted December 3, 2016 The ending actually feels like it cuts off. Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 I tried doing a segue of that last note into the start of Jurassic Park Theme; It actually kinda worked (the high strings fade out before the second phrase). Not sure if it's anything Williams intended or not, but it kinda worked. Link to comment Share on other sites More sharing options...
Incanus 5,840 Posted December 3, 2016 Share Posted December 3, 2016 I suspected it might. Link to comment Share on other sites More sharing options...
Jay 40,692 Posted December 3, 2016 Author Share Posted December 3, 2016 I just realized what the start of Horning In (3:39 of the track) reminds me of: Attack of The Clones' percussive action music! Neat! Link to comment Share on other sites More sharing options...
Amer 2,338 Posted December 3, 2016 Share Posted December 3, 2016 Jason, great thread! More focussed discussion here. Of course I envy everyone who gets the set before I get mine. Glad to know the flow of the albums is great. While I did listen to the new unreleased music from JP on the Anniversary digital release and also noticed how well that album was mastered but I didn't play the whole album as a single listen at that time because I felt that the flow didn't work so well, With this set I'm sure its going to be great listen all the way through and recall the flow of the film. How does the cue 'The Falling Car and The T-Rex Chase ' flow now that they match the film sequence. Was the silence edited for the start of the T-rex Chase before the brass drops a tone to indicate the start of the chase after afterIam says Ím fairly alarmed'? Also how are the liner notes and I hope Mattessino goes into great detail. Now I'am avoiding going back to watch either of the movies so I can experience both the score afresh when they arrive! Link to comment Share on other sites More sharing options...
Incanus 5,840 Posted December 3, 2016 Share Posted December 3, 2016 25 minutes ago, Jay said: I just realized what the start of Horning In (3:39 of the track) reminds me of: Attack of The Clones' percussive action music! Neat! Yeah that underlying steady rhythm reminds me of Yoda VS Dooku percussion material. Link to comment Share on other sites More sharing options...
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