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


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Just now, Trent B said:


I've grown to appreciate the score for AOTC  a lot more now that we have almost (minus the unused music) all the score thanks to the various games...especially The Old Republic.

 

"Chase through Coruscant" is still one of my all-time favorite action/chase pieces from JW.

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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

1 hour ago, Josh500 said:

 

"Chase through Coruscant" is still one of my all-time favorite action/chase pieces from JW.

 

Me too, and now after hearing The Lost World in this new set, I realize that we may have never had that track sound the way it does if he hadn't explored the percussion so extensively for TLW! 

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3 hours ago, Richard Penna said:

 

Yeah I just watched the scene again and the latter part of The Hunt sounds more heroic than it should do, given what's going on in the story.

 

High Bar doesn't have that same sense of heroism and excitement that the scene in the film has. The tracking definitely works, and is probably more effective than JW's cue.

 

That may be the case regarding High Bar and Ceiling Tiles but it is still an awesome action track as a stand alone listening experience.

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On 12/3/2016 at 5:35 AM, 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?

 

Yes, it's right at the very end of that cue.

 

I just put the DVD and High Bar into my editor, and when it plays in full, it lines up perfectly. It's astonishing the difference in tone that this gives the scene. SS's tracking gives a sense of heroic relief, that it's finally all over and they've escaped the island. JW's cue doesn't recognise that shift, and just continues the frenetic action. I definitely prefer the tracked version. We can't recreate it 100% because they seem to have used a recording of TLW where it ends cleanly before the final brass hits. I've given it a go however, and by cutting immediately to the end of the concert piece, it works quite well.

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21 hours ago, Jay said:

 

"The Falling Car" is allowed to finish almost completely - there's actually a bit more of the ending (just the tail of the ringing out of the final note) available on the OST or Anniversary Edition.  Interesting about that final chord: On the OST, there's a WICKED lout stage noise at one point.  On the 20th Anniversary Edition, Sullivan seemed to switch to a different take for just the final chord to avoid that noise; The take chosen has a bit of a different feel to it.  On the LLL, Matessino seems to have gone back to the original take, but managed to quiet the sound of the stage noise.

 

Anyway.

 

There is no silence between the 2 cues, as the T-Rex Chase music comes in before its done fully ringing out as I said.  So you could edit in the full final chord from the OST or 20th, add your own silence, and then start T-Rex Chase in its own track, which would actually match Williams' intentions.  The cues overlap in the film, but only because his cue was artificially edited/extended to loop the beginning part earlier than where JW spotted the cue to actually start.

 

 

 

 

I haven't read them yet, but it does seem he does go into great detail, yes.  At first glance they seem to be more about the production of the film than the score, though.

 

Thanks Jason. That clears it up. The  3 note motif is retained in the track but was edited out in the film. I keep forgetting that the opening of the Chase Cue cue was edited. Anyways looking foward to it.

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It's curious - TLW was always at the top of my wish list due to the unreleased cues that are heard in the movie.

 

Now that I have the complete score, most of my favourite new tracks are actually from cues that weren't in the movie and are brand new to me.

 

This release has definately promoted the score from 4 stars to 5 stars for me.

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Oh, I just noticed that the brass at 2:00 in 'Rescuing Sarah' is probably playing a rendition of the eerie string figure at 0:48 from 'In The Trailer'.

 

There are four notes from those timestamps that definitely have the same musical shape.

 

Anyone else hear it?

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I'm a little confused with the 2 "Welcome to Jurassic Park" tracks.

 

In the liner notes, it list track 7 "Welcome to Jurassic Park" with a length of 7:58 and track 10 "Welcome to Jurassic Park (Film Version)" with a length of 8:01.  When the disc is ripped in iTunes, track 7 has a length of 8:02 and track 10 is 7:58.

 

Were the tracks flipped on disc or the liner notes misprinted? Which track is really the film version, the 8:01 or 7:58?

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Yeah this score is simply drenched in a ferocious action vibe, which seems to have an edge and bite (sorry about the pun) that he hasn't quite reproduced later in the same way. There is something very primal in the aggressive, nervous and harsh tones Williams uses for this score, which the new music just further enhances. All the aleatoric stuff and the percussion and the lower end of the orchestra churning constantly with restless energy.

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It's clearly post-1995 (the more vanilla Jurassic Park can't really compare, at least if we compare how the kinetic action sequences play out) and i also noted that apart from the obvious influences (theme: Steiner, action: Predator 2) the rich approach to jungle action mirrors a handful other potent jungle scores from around the same time, namely 'Congo' (not the greatest score but with some rabid moments), 'The Ghost and the Darkness' (the brutal jungle-in-peril approach) and, surprisingly, the african hunt sequences of 'Mighty Joe Young' (that are pretty huge and complex). 

 

It's as if the old guard tried to set an industry standard for primeval forest brilliance with that stuff - and now with TLW it's the third of these scores that despite being a pretty long release back then only unleashes its full scope with the complete presentation.

 

Of course it's a bit excessive right now (and i would cut some murkier stuff that was of course released on the 1997 album) but by and large, this is the musically most impressive JP score. 

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On 03/12/2016 at 6:08 AM, Stefancos said:

Yeah I'll be combining the 2 last tracks and ditching the end credits. 

 

Don't forget your old buddy will you. 

 

18 hours ago, petaQ said:

 

What a fun idea for an upcoming thread. What film music do you listen to when you visit your dead family members at the cemetery? 

 

17 hours ago, Bespin said:

 

Presumed Innocent

 

I can't think of anything more perfect. 

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On 4/12/2016 at 8:56 AM, Jay said:

  He also points out that there's a minor theme for the baby stegosaurus that returns in In Trailer, which is something I hadn't noticed!
 

I just noticed today that the baby's theme is also in Spilling petrol and horning in a 2:23 (makes sense as the baby triceratops and stegosaurus are shown )

 

And i think the unused finale also has this theme in a short rendition. (also with babies on screen)

 

Also un up in a basket at 0:30 the flutes sound like the 'fence motif' from JP. Probably a coincidence because it sounds aleatory notes too...

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Those disco strings which are the harbingers of Eddie's impending and hopeless doom are fucking ruthless. I'm sure The Bee Gees would have been happy to sample them during their heyday, they're that awesome. But coupled with those death toll chime slams, William's somehow managed to broach on inate primal fear territory again, I think on the level of Jaws. Because the sound he wrought from his orchestra here is about as frightening to me as harmonic music gets. And it's just so friggin' cool with it.

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Yeah, it's a very cool moment - one of many in this score.

 

Listening to it for the first time last night, I was struck by how surreal it was to hear all the music that had previously only been heard in mockup form. Those moments were somehow strangely familiar and yet completely new at the same time. I was surprised how my old low-tech mockups actually captured something of the real thing pretty well, though obviously the actual recordings sound a million times cooler.

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1 minute ago, Datameister said:

Yeah, it's a very cool moment - one of many in this score.

 

Listening to it for the first time last night, I was struck by how surreal it was to hear all the music that had previously only been heard in mockup form. Those moments were somehow strangely familiar and yet completely new at the same time. I was surprised how my old low-tech mockups actually captured something of the real thing pretty well, though obviously the actual recordings sound a million times cooler.

You did a great job with those Data! :)

 

But yes nothing beats the real thing.

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7 minutes ago, MedigoScan said:

so is there a list anywhere of what music was tracked all over the place in TLW?

 

just curious

You could try this analysis. Hopefully it will help.

 

Here is also Jason's spreadsheet comparison between OSTs and the new release.

And also Jason's complete cue list for the Lost World.

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Just now, MedigoScan said:

Thanks

 

such a shame to hear about all those silenced tracks

 

allthough I gotta admit, it did make the trailer scenes more tense when the T-rexes first showed up

Hey it also means more music for us to discover on this set! :)

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Just finished my first listen of both scores at work, on my work computer speakers.  The dynamic range was certainly great enough that I had to reach for the volume knob at the loud parts, and turn things up a bit at the quiet parts, so I'm surprised anyone would want it spread open more than it is :)

 

Anyways, these scores are an absolute TREAT to have in complete form!  The storytelling by Williams when listening to each score in chronological order is terrific.  Each score builds and builds and builds to their explosive climaxes.  Great scores!

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It's so much better to listen to JP in this order.... to not start the album with an exciting action cue from later in the score...... to not hear the hymnal Dinosaur theme until the characters see them for the first time... to have the little moments like The History Lesson in their proper spot in the narrative..... it's a great presentation.

 

And The Lost World is just a powerhouse of a score, where really every cue adds to the story, and the musical palette.  I love the ebb and flow the score has; It's not a bunch of buildup and then a bunch of action all at the end.  It builds to one action setpiece, then breaths, then the next, etc.  A really great score.

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4 minutes ago, Jay said:

to not hear the hymnal Dinosaur theme until the characters see them for the first time

 

Out of curiosity, would you rather them have not started the Lost World complete score with the concert theme?  Would you rather have heard that melody first for Malcolm's Journey (or "To the Island" as it's now called I guess)?

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Yea, that's kinda funny isn't it: In TLW's case, I prefer the concert arrangement at the beginning!  It acts well as an "Overture", setting up the entire tone of the score in one brilliant track.  This is different than JP, where I always put the Theme track after the end credits as a bonus track

 

In fact what I've always done with my personal edit for TLW is the same thing Mike did (almost).  I had:

 

1 The concert arrangement

2 the film cues

3 after the saving dart, I had "End Credits" (my name for the concert arrangement with the different opening)

4 THEN the Jurassic park theme track concert arrangement, basically acting like an "encore" to end everything.  Frankly, I didn't listen to it that often, usually stopping the program after the alternate concert arrangement.

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It really gets you pumped for the score right away.  And when the theme appears in "To The Island" a few tracks later, it reinforces the theme rather than premiering it, which really works well.

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I've gone for the TLW theme at the start, then rather than having the alternate one (I don't quite see the genius in that opening that the rest of you are), I've made an edit which switches the relevant part of Ceiling TIles for the TLW theme for a nice dose of heroism before the San Diego carnage starts.

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3 hours ago, Jay said:

Yea, that's kinda funny isn't it: In TLW's case, I prefer the concert arrangement at the beginning!  It acts well as an "Overture", setting up the entire tone of the score in one brilliant track.  This is different than JP, where I always put the Theme track after the end credits as a bonus track

 

In fact what I've always done with my personal edit for TLW is the same thing Mike did (almost).  I had:

 

1 The concert arrangement

2 the film cues

3 after the saving dart, I had "End Credits" (my name for the concert arrangement with the different opening)

4 THEN the Jurassic park theme track concert arrangement, basically acting like an "encore" to end everything.  Frankly, I didn't listen to it that often, usually stopping the program after the alternate concert arrangement.

 

I'm totally the same. Don't want to hear the theme at the beginning of JP, but I love TLW's theme bookending that score. I was really struck by how effective that presentation is.

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I've tried searching for this answer in older JP threads but couldn't find it. 

 

At the end of the movie as everyone IDs boarding the helicopter there is a brief piece of music before the end credits cue begins. Is this an unreleased insert or tracked from somewhere else?

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22 hours ago, rolltide1017 said:

I'm a little confused with the 2 "Welcome to Jurassic Park" tracks.

 

In the liner notes, it list track 7 "Welcome to Jurassic Park" with a length of 7:58 and track 10 "Welcome to Jurassic Park (Film Version)" with a length of 8:01.  When the disc is ripped in iTunes, track 7 has a length of 8:02 and track 10 is 7:58.

 

Were the tracks flipped on disc or the liner notes misprinted? Which track is really the film version, the 8:01 or 7:58?

 

I was confused by this as well.

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16 hours ago, Jay said:

It's so much better to listen to JP in this order.... to not start the album with an exciting action cue from later in the score...... to not hear the hymnal Dinosaur theme until the characters see them for the first time... to have the little moments like The History Lesson in their proper spot in the narrative..... it's a great presentation.

 

And The Lost World is just a powerhouse of a score, where really every cue adds to the story, and the musical palette.  I love the ebb and flow the score has; It's not a bunch of buildup and then a bunch of action all at the end.  It builds to one action setpiece, then breaths, then the next, etc.  A really great score.

I love how there is now that quieter "breather" middle portion starting from A Tree for My Bed to the cue To the Maintenance Shed  which is where the explosive action starts and doesn't really let go until the end credits.

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^ Ha! That sneaky bastard!

 

I checked the two tracks in question again, and it seems that the differences in length don't really help determine which is which. They both fade out at about 7:53, they just have different amounts of silence after that. And I'm having a hard time noticing the differences in actual musical content. So I guess I'll just trust the track listing until a more diligent listener uncovers the truth! If any more diligent listeners actually care, that is :P

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3 hours ago, Mattzilla said:

^ Ha! That sneaky bastard!

 

I checked the two tracks in question again, and it seems that the differences in length don't really help determine which is which. They both fade out at about 7:53, they just have different amounts of silence after that. And I'm having a hard time noticing the differences in actual musical content. So I guess I'll just trust the track listing until a more diligent listener uncovers the truth! If any more diligent listeners actually care, that is :P

The extended silence is to sepparate the main score from the theme and alternate(ish...) end credits.

8 hours ago, rolltide1017 said:

I've tried searching for this answer in older JP threads but couldn't find it. 

 

At the end of the movie as everyone IDs boarding the helicopter there is a brief piece of music before the end credits cue begins. Is this an unreleased insert or tracked from somewhere else?


It's a very well done edit, i didnt noticed it back in the day.

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1 hour ago, Luke Skywalker said:

It's a very well done edit, i didnt noticed it back in the day.

Back in the day (1993) I didn't even know you could buy this stuff from record stores let alone scoring practices. Hence I didn't notice the edit. :P

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Sorry to keep banging on about the extended Rescuing Sarah cue, but is it known whether the newly released music which scores Eddie's death was a pick-up insert or is this track we now have the original whole cue as recorded by Williams as originally intended? If so, it begs the question as to why on earth the OST version edited the moment out in the first place. 

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48 minutes ago, Quintus said:

Sorry to keep banging on about the extended Rescuing Sarah cue, but is it known whether the newly released music which scores Eddie's death was a pick-up insert or is this track we now have the original whole cue as recorded by Williams as originally intended? If so, it begs the question as to why on earth the OST version edited the moment out in the first place. 

Yeah it is an edit, cutting away that middle portion of the cue for some extremely odd reason only known to Maestro Williams himself.

28 minutes ago, Stefancos said:

The OST of The Phantom Menace is full if weird editing choices like that.

 

The Desert Chase from Raiders had a bit lobbed out for no good reason. 

Very annoyng and I can't for the life of me think any reason to cut those passages. The Desert Chase is not really any better for them.

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