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The John Williams Jurassic Park Collection from La-La Land MUSIC Discussion


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So...I visited the official Jurassic world exhibition yesterday...and look what I found in the tyrannosaur panel ... Anyone see something familiar? LOL

All this talk about TLW being greater than JP... I don’t doubt it. Maybe it is. More complex, greater depth, a reinvention of the genre... But I can’t hear it.

 

Subjectively, TLW doesn’t stand a chance. I know and love every note of the original JP soundtrack.

 

Simply because JP was the first OST I ever purchased (outside of a SW compilation). I listened to that baby to death!

 

It’s part of the reason why I am a JW fan.

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I remember when I got the JP OST in 93  I found the first half of the album great and the frantic action music of the second half not so much. It's like Williams had completely changed his style from we'd known him for.

 

Actually Incident at Isla Numbar is the only action cue that's very 80's style Williams and sounds very different from the rest of the action cues

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1 hour ago, King Mark said:

I remember when I got the JP OST in 93  I found the first half of the album great and the frantic action music of the second half not so much. It's like Williams had completely changed his style from we'd known him for.

 

Actually Incident at Isla Numbar is the only action cue that's very 80's style Williams and sounds very different from the rest of the action cues

Yeah, you can hear similarities to Streets of Shanghai.

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4 hours ago, King Mark said:

I remember when I got the JP OST in 93  I found the first half of the album great and the frantic action music of the second half not so much. It's like Williams had completely changed his style from we'd known him for.

 

Actually Incident at Isla Numbar is the only action cue that's very 80's style Williams and sounds very different from the rest of the action cues

 

JP is basically all cues contained within their own universe, with little to no connection between them. Which makes the TLW consistensy interesting considering the movie's the complete opposite.

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3 hours ago, Muad'Dib said:

 

JP is basically all cues contained within their own universe, with little to no connection between them. Which makes the TLW consistensy interesting considering the movie's the complete opposite.

 

What in the world are you talking about?

 

Theme from Jurassic Park, the Island fanfare, the raptor theme, the danger motif, etc. They crop up again and again throughout the score. 

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Great analysis @Incanus, very well put. I love both scores and I've come to love how different they are! It's quite unique for a sequel score to a composer's own work to be this tonally divergent. 

 

Mind you, this is after hating TLW for years when I was much younger because I didn't understand why it sounded so different from the first score (which I loved as a kid, it was the film score that made me fall in love with film music, but it was hard to grasp where all that memorable melodic, majestic music went). 

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Why does JW always has to top himself, making it difficult for us to decide wether the original or the sequel is better? There are days where I like SW better than ESB, but depending on the moon's phase and the alignment of the planets, I like ESB better. Same thing with Raiders x ToD, JP x TLW. He definitely doesn't make things easy for us.

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10 hours ago, phbart said:

Why does JW always has to top himself, making it difficult for us to decide wether the original or the sequel is better? There are days where I like SW better than ESB, but depending on the moon's phase and the alignment of the planets, I like ESB better. Same thing with Raiders x ToD, JP x TLW. He definitely doesn't make things easy for us.

 

Sooooooo true. Well, ToD never quite tops Raiders for me, but sometimes it's at least on the same level. But yeah, SW vs ESB and JP vs TLW are so variable, depending on how I'm feeling - and what I'm currently listening to. Whichever one I'm listening to (SW at this moment) usually strikes me as the winner.

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7 hours ago, Nick Parker said:

 

Generally, what gives the former the edge for you?

 

I just find it to be more consistently interesting, and maybe that it is because I appreciate Willians mixing his old and new styles. I also think The Jungle Chase is some of Williams’ best action material period so that helps in giving it the edge

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  • 1 month later...

Something that was probably mentioned before, but I've just noticed it, but you can hear a recurrent minor motif in a couple of tracks.

 

In the La La Edition, listen to the motif in track 15 in Disc 1, "The Trek", at the 1:06 mark

1: 06

You'll hear the same motif in the following track 16, "The Compys!", at the 3: 24 mark

 

Just a curious little thing, I think

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24 minutes ago, Romão said:

Something that was probably mentioned before, but I've just noticed it, but you can hear a recurrent minor motif in a couple of tracks.

 

In the La La Edition, listen to the motif in track 15 in Disc 1, "The Trek", at the 1:06 mark

1: 06

You'll hear the same motif in the following track 16, "The Compys!", at the 3: 24 mark

 

Just a curious little thing, I think

Yup. I call it simply the Trek motif in my analysis.

 

The score has some of these recurring ideas like the violent rhythmic orchestral bursts that appear in Spilling Petrol and Horning In, Rescuing Sarah and Ripples for the dinosaur attacks and this little trek motif and the stylistically similar music for the appearances of the baby dinosaurs.

 

Every time I talk about these scores I inevitably end up listening to JP and TLW. Like just now. Ripples is such an awesome track!

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  • 2 months later...
  • 2 months later...
11 hours ago, Brundlefly said:

Compare it with the 2013 expansion.

Yeah when you compare it there is a difference. But honestly, this fade-in sounds OK to me, it's not something exaggerated like Farewell Neverland.

 

image.png

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On 3/27/2019 at 8:57 PM, Chewy said:

Yeah when you compare it there is a difference. But honestly, this fade-in sounds OK to me, it's not something exaggerated like Farewell Neverland.

It's a really weird decision, considering that there is no reason to do this. The source material sounds good, there is no noise at the beginning that needs to be hidden. The 2013 version has a much more natural beginning.

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  • 1 year later...
1 hour ago, CuriousMan said:

No, a "noise", toward the end of "The Long Grass". 

Compare mark 02.24.521 of "The Long Grass" with mark 4.30.047 of "Hammond's Plan"

 

I'd say Mike left in the full array of studio noise that ended the track, while whoever mastered the OST album decided to wipe out that little squeak

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On 3/31/2019 at 2:46 PM, Brundlefly said:

It's a really weird decision, considering that there is no reason to do this. The source material sounds good, there is no noise at the beginning that needs to be hidden. The 2013 version has a much more natural beginning.

Maybe it was for album flow reasons, from the previous track since the 2013 was just a collection of bonus cues.

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4 hours ago, CuriousMan said:

Just curious: Then, instead of "(Film Version)", wouldn't the bracketed note be "(Bonus Track)"?

As in 'Finale and End Credits (Bonus Track)'?

 

You are welcome to re-tag your rips of the CDs  any way you like

 

 

2 hours ago, Chewy said:

Just for information, Mike did not use "snippets of additional takes [...] to remove "studio" noise in places" for the LLL 2016 release, that was actually done by Ramiro Belgardt for the 20th Anniversary 2013 release of Jurassic Park. The LLL release presents all the takes chosen by Williams and used in the movie.

 

This is correct.  The LLL album has all the same takes as chosen for the movie.  It's the 2013 digital release that used some wrong takes instead of the correct takes.

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