John Williams E.T. EXTRA-TERRESTRIAL Film Soundtrack OST LP Steven Spielberg MCA

	£		20
	$		27

British 1st release original motion picture soundtrack LP to ‘E.T. The Extra-Terrestrial’ (1982, dir. Steven Spielberg), composed and conducted by John Williams.
The movie starred Dee Wallace, Peter Coyote and Henry Thomas.

John Williams ?– E.T. The Extra-Terrestrial (Music From The Original Motion Picture Soundtrack) (1982)

Condition (refer also to notes at bottom):
Vinyl – VG-EX. Both sides look clean on visual inspection. No obvious signs of wear or scratches. Played just pre-listing and sound clarity is excellent. A few clicks and pops in places. Side B, track 1 has a light click running through.
Outer sleeve (cover) – VG. Colours are unfaded and bright. Moderate edge/corner wear and some creasing. Some marking/dents on front, especially in top right where sticker once was. A rectangular area shows damage in that corner. Minor disc showthrough outline evident on front and reverse. The reverse has some minor rubbing at top left and centre bottom. Cover remains intact however.
Inner sleeve – EX. Original. White paper with curved corners. Very minor folding and creasing. Intact.

Label: MCA Records ?– MCF 3160
Format: Vinyl, LP, Album
Country: UK
Released: 1982
Genre: Electronic, Stage & Screen, Instrumental, NeoClassical, Theme
Style: Soundtrack, Contemporary, Score, Easy Listening

Track listing:
A1. Three Million Light Years From Earth  2:57
A2. Abandoned And Pursued  2:58
A3. E.T. And Me  4:49
A4. E.T.'s Halloween  4:07
A5. Flying  3:20

B1. E.T. Phone Home  4:18
B2. Over The Moon  2:06
B3. Adventure On Earth  15:06

Composed By – John Williams
Conductor – John Williams


Review:
This sweeping, romantic, and emotionally uplifting soundtrack is one of the best motion picture scores of all time. It won composer John Williams his 12th and 13th Grammy Awards and his fourth Oscar.

Writer Melissa Mathison's story is about Elliott, a boy emotionally scarred since his father deserted him and his family for a new girlfriend. He is now an angry loner, not risking forming any relationship. Then he meets an extra-terrestrial scientist accidentally stranded on Earth. At first E.T. is a safe object of Elliott's interest, being a "creature," not a human, and treated by Elliott and his siblings as a toy or pet. But when presumably ill-intentioned government UFO investigators come on the scene, Elliott chooses to try to save E.T., risking emotional commitment, and even rejoining the society of his fellow kids to enlist them in his cause. He also helps E.T. contact his shipmates, resulting in E.T. having to leave Elliott behind, but now Elliott has the emotional strength to accept this new separation.

Williams' musical palette is very wide: Slithering string portamenti recall Close Encounters of the Third Kind, but parallel fifths and organ pedal transform the effect into a nearly religious sound.

The spirited high-jinks of the children, the warm music that develops as Elliott and E.T. bond, and an exultant action motif with a peculiar skip in its rhythm all grow in importance. Then they coalesce to form the exultant "Flying Theme," the emotional pay-off of the film.

To reach that point, the score builds towards a continuous stretch of a quarter-hour. Williams composed this scene precisely, with dramatic moments for when the police cars were in the shot, bumps when the bicycles hit bumps, a lift at the moment the bikes take flight, and the "Flying Theme's" high point when Elliott and E.T. fly across the disc of the full moon.

Williams found that the precision of the cue's timing straight-jacketed him as a conductor: He couldn't make it fit without deadening the feeling. Once Spielberg realized this, he told Williams just to conduct the music without film, as if in a concert. Spielberg then adjusted the edit, delaying or advancing a cut by a few frames to fit the musical accents. The result was one of the great marriages of score and visuals in film history.

The soundtrack release on MCA records comprised 25 minutes of music of concert movements from the soundtrack, plus what amounts to a concert rhapsody from the film (primarily the finale just described), which Williams called Adventures on Earth.

In advance of the May 2002 20th Anniversary re-release of the film, Williams prepared a new soundtrack release of about 75 minutes, following the film's dramatic sequence rather than as a concert suite. The length of this version required dropping Adventures on Earth. In addition to these "official" releases, numerous other suites and excerpts have become standard pops and film album numbers.



–––––––––––––––––––


I offer combined postage on all multiple purchases placed in the same order.
Please await invoice before making payment.
Postage and packaging FREE to UK (Royal Mail 2nd Class Standard).

Will post worldwide.
Europe (Royal Mail International Standard; no tracking) – £8.
Europe (Royal Mail International Tracked and Signed) – £12 USA (Royal Mail International Standard; no tracking)* – £16 South America, Canada (Royal Mail International Standard; no tracking) – £10.50
Asia, Australia, Japan (Royal Mail International Standard; no tracking) – £11.50

Sorry but no returns are accepted.

Payment by Paypal only please.

Please see my other soundtrack listings.

Thanks for looking and happy eBaying!
* As of 1 July 2020, Royal Mail has had to significantly increase its shipping costs on small parcels to the USA in response to American domestic airline companies raising their costs.



ITEM CONDITION - items are graded according to Record Collector definitions - see below:

MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.

EXCELLENT: The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and / or creasing.

VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.

GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc.

FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and / or defaced.

POOR: The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.

BAD: The record is unplayable or might even be broken, and is only of use as a collection filler.