John Powell's SOLO: A STAR WARS STORY (2018) - Deluxe Edition 2020 / Intrada 2-CD edition October 31, 2023

[Kasey Kockroach 2,343]

Or Chicken in the Pot is the end credits.

[Anthony 572]

Aside from the very beginning of the Star Wars end titles (less than usual) I believe the end credits is entirely made up of tracks on the album.

[Kasey Kockroach 2,343]

Or this can be the end credits.

[greenturnedblue 372]

The huge blast of the Death Star Theme at the very start of Reminiscence Therapy, what does it accompany on screen? 

[Anthony 572]

19 minutes ago, greenturnedblue said:

The huge blast of the Death Star Theme at the very start of Reminiscence Therapy, what does it accompany on screen? 

 

Spoiler

Reveal of a Star Destroyer and emerging TIE fighters

 

[Alex Shore 83]

Damm! there's a great homage to Britten's Young Person's Guide to the Orchestra (trumpet section) on "Into the Maw" 

[MikeH 768]

3 hours ago, kaseykockroach said:

A dang fine length.

 

MMMmmmm

[saulocf 79]

Ok guys, I will be the one raining in the parade. I didn't hear the score in the album yet but it really took me out of the movie a couple of times! It was trying to make all actions seem epic and with high stakes when it could have been much more playful. The begging of the train sequence is a great example where the score could go lighter. It has some great moments and the new Williams theme has some good statements (tho a little overused and simplistic I'd say), but it made some sequences unbearable! Gosh, compare Williams' "Slave Children Crusade" with a similar one from this movie. The Williams one is fun, simple, and really benefits the movie, while Powell tried to do the same but inserted 928 more layers it sounded bloated. Well, I'll be the first one voting for Rogue One. It may sound rushed in some parts, but at least in the movie, nothing comes close to "Your Father Must Be Proud" from that score/ Rogue One 1 x 93 Solo

[spielboy 0]

well, in CD Powell's arrangements are more noticeable than in the film mix. His beloved ostinati percusion in so many tracks... along with the bombastic approach... not always worked for me. And I hate the choral parts. All this make the score sound like "cheap" in many moments. Add to that the Williams CLASSY and CLASSIC theme and the comparision is, well. obviously not fair (now I understand why they didnt finish the movie with Williams' concert arrangement)

 

and his love theme sounds like a Lloyd-Webber tune or something, is quite cheesy and do not refflects the real relationship between Qui-Ra and Han

 

anyway, album has it's fun moments, with original material and with Williams old and new material... but you must tolerate and like Powell's style cause it's definitely there

[Bayesian 1,358]

6 hours ago, kaseykockroach said:

The Marauders Arrive is the most brilliant use of choir I've heard in a score in years.

 

Oh my yes!

[King Mark 3,624]

I like the Love theme quite a bit (or whatever Lando's closet is) . Still think Williams might have helped on that

 

But without Williams theme popping up every 10 seconds this would be a pretty bad score. I think Rogue One was much better in that regards

[Bayesian 1,358]

5 hours ago, kaseykockroach said:

Chicken in the Pot probably should've been saved for the end, but what the hey, it's a really funny inclusion.

 

That track sounds about as out of place in a SW OST as any I can think of, but I'll bet it's perfect in whatever scene it accompanies. Is it me, or do some of the vocals sound vaguely French-like? Those vowels...

[RICHARDSTRAUSS68 107]

I just watched the film at a local premiere event. I like the soundtrack. Had some good throwbacks of course. Some tracks directly taken from previous ost releases. Episode 4 and 5 tracked into a new one. And another one from another episode I will not mention for anyone who has not seen it.  

 

The only complaint isn’t I feel it got too loud from time to time and distracted. 

[Kasey Kockroach 2,343]

Film mix wasn't THAT bad. Some of the action music is drowned a bit, but there were plenty of moments where I can say the score shined.

Shame the end credits isn't on the album. It's great! Seems like everything else is there though.

[RICHARDSTRAUSS68 107]

It could've been the theater I was in.

[Kasey Kockroach 2,343]

I've suspected that could be a case, as I remember everyone complaining about TFA's mix, and being confused as I heard it just fine. 

[RICHARDSTRAUSS68 107]

My two friends with me had the same complaint, and the one left with a migraine.

[Kasey Kockroach 2,343]

I didn't see Last Jedi, so I don't know how that film score mix compares to Force Awakens.

I do miss the days of perfect sound editing like Horner's score in Aliens.

 

 

[Incanus 5,713]

40 minutes ago, kaseykockroach said:

I do miss the days of perfect sound editing like Horner's score in Aliens.

Do you mean the score that was hacked and slashed to pieces by Cameron with hardly any of the composer's original intentions left untouched? I haven't seen the film in ages so I don't remember how well the actual sound department fared in that movie.

[Kasey Kockroach 2,343]

I mean in terms of being able to hear the score perfectly even with gunfire going on.

[Incanus 5,713]

These days there are so many sound layers competing for attention as they want to get every little thing on the sound track that it must be a pain to try to mix these things in a way that compliments all the different elements.

[Kasey Kockroach 2,343]

Being surrounded by cosplayers at the theatre was surreal...in a fun way though.

[Manakin Skywalker 4,889]

"Chicken in the Pot" is really freaking bizarre. I'd like to hear those strings by themselves though.

[publicist 4,643]

 

First impressions

 

Plus side: better than 'Rogue One', minus side, too many simple ostinatos from the RCP toolkit. Powell is a great writer for orchestra and you hear that shining through, especially in some of the more virtuoso brass parts, but somehow too much of it, especially the action music, tends to sound a bit generic, a bit too busy for its own good without doing much, musically. It gets interesting whenever he is allowed to get idiomatically out of the box (Mine Mission!) or it all slows down to, you know, actual 'character-building' music. The Williams theme isn't the maestro's most shining hour, either, though he manages to snuggle in one of his tense conspirator riffs (at 00:38) which is always good. The Williams shish kebab in 'Reminiscence Therapy' would be more fun if TLJ didn't do exactly the same thing 5 months before.

 

'How to Train Your Dragon', especially part 2, this unfortunately ain't. 

[Mephariel 451]

This is an incredible score, but of there is just one criticism, I agree that the action cues are a bit overwhelming. Like RCP power to the max but but more melodic structure, yet keeping the brass, the ostinatos, and the layering. Maybe because I am a huge Zimmer fan, but I don't think it hurts the score that much. It has more broad strokes than Williams' scores in this franchise (as expected from Powell and other RCP composers), but it works really well here. It is basically everything that Giacchino failed to do with Rogue One.  

[artguy360 1,842]

Hearing JP take his turn at SW/JW style fugue-like music is fun. I would say he is overall more successful than Gia was. At least this is original whereas Gia nearly completely repurposed one of JW's fugue-like pieces for RO, I think it was the shark cage fugue.

[Mephariel 451]

1 minute ago, artguy360 said:

Hearing JP take his turn at SW/JW style fugue-like music is fun. I would say he is overall more successful than Gia was. At least this is original whereas Gia nearly completely repurposed one of JW's fugue-like pieces for RO, I think it was the shark cage fugue.

 

That has always been my number one issue with Rogue One. I just think Gia's vision is just off. He tried too hard to be Williams but he is like a rejected student from Williams' class. He doesn't have natural action sense. His composition sounded irritating more than naturalistic. I still like the score and probably gave it 3/5 stars, but I think a guy like Powell who isn't trying to imitate Williams to the note is exactly what this franchise needs. 

[Kasey Kockroach 2,343]

I sincerely like Rogue One's score (and never saw the movie), but the arrangement of 'Giacchino takes Jurassic, Powell takes Star Wars' just feels right to me.

[publicist 4,643]

These frenetics have a lot to do with the way tent pole movies are made today but also with the inability of composers (Powell as much as others) to pool their resources. Every action scene (and there are plenty) has to scream 'finale!!' at a high-lung level. Even a busy, rhythmically accentuated guy like Goldsmith would have approached the action parts much more grand and majestically (compare, i. e. later Star Treks) and it works much better against picture.

[Mephariel 451]

2 minutes ago, publicist said:

These frenetics have a lot to do with the way tent pole movies are made today but also with the inability of composers (Powell as much as others) to pool their resources. Every action scene (and there are plenty) has to scream 'finale!!' at a high-lung level. Even a busy, rhythmically accentuated guy like Goldsmith would have approached the action parts much more grand and majestically (compare, i. e. later Star Treks) and it works much better against picture.

 

I think you really have to love big broad strokes to like modern action music, especially RCP action music. Because compared to Williams, Goldmith, or even Shore, most modern writers can't write (or they are not expected to write) competent B-sections or nuance transitional structures. So everything just becomes bombastic + layering. It works, and sometimes spectacularly. But if you are expecting tons of depth, romanticism, and majesty, you are probably out of luck. 

[MikeH 768]

Just now came up on Apple Music!  But according to the album the year is 2003. Anyway, looking forward to Episode 3 in two years! I hope JW is still around to score it. 

[publicist 4,643]

Considering Powell's other work i actually don't think it is above him to write less dense and overwrought, case in point are the last 45 seconds of 'Dice and Roll' or the already mentioned 'Mine Mission'. He just doesn't utilize such subtlety in the many testosterone action scenes.

[TheUlyssesian 2,473]

12 minutes ago, Mephariel said:

 

I think you really have to love big broad strokes to like modern action music, especially RCP action music. Because compared to Williams, Goldmith, or even Shore, most modern writers can't write (or they are not expected to write) competent B-sections or nuance transitional structures. So everything just becomes bombastic + layering. It works, and sometimes spectacularly. But if you are expecting tons of depth, romanticism, and majesty, you are probably out of luck. 

 

I daresay Gia on his best days can do that too. Like Ratatouille or John Carter. But specially Ratatouille. It is a score of remarkable intricacy.

[Manakin Skywalker 4,889]

I love how the one track filled to the rim with classic music is titled "Reminiscence Therapy". That must be the most meta track title in history.

[Smaug The Iron 510]

I liked it very much. Williams theme for Han is good and Powell did a great job with the rest of the score. I hope Powell do more Star Wars scores. 

[MikeH 768]

That trumpet lick is the most insane thing I’ve ever heard Williams write for brass. 

[Pellaeon 593]

Reminiscence Therapy — I’d love to hear it played a couple ticks slower, giving each theme its loving reminiscence. I like it fast, just would be nice not quite so breakneck. I get that he was trying to be sly.

 

All in all, the score doesn’t sound like it comes from the 1940s, so it feels like the wrong universe. It’s futuristic, not retro-futuristic, if that makes sense. Also I should think a little less epic sound would suit Han Solo better. It’s beautiful and exciting music, just sure not how I imagine the subject matter.

[Mephariel 451]

3 minutes ago, TheUlyssesian said:

 

I daresay Gia on his best days can do that too. Like Ratatouille or John Carter. But specially Ratatouille. It is a score of remarkable intricacy.

 

Gia's best work imo are the Pixar films. Like Up, Ratatouille, and Inside Out. Unlike action, Gia has a really good feel with the whimsical aspects of life. It helps that his music is so floaty in nature, with minimum weight. And in those movies, he is focus on making unique themes for the movie rather than trying to prove to people he is the next best thing to Williams. Inside Out may actually be my favorite score of his. I am in the minority that I much prefer his scores like War for the Planet of the Apes than John Carter or Jupiter Ascending. He is at his best when he is the least like Williams. 

2 minutes ago, Pellaeon said:

Reminiscence Therapy — I’d love to hear it played a couple ticks slower, giving each theme its loving reminiscence. I like it fast, just would be nice not quite so breakneck. I get that he was trying to be sly.

 

All in all, the score doesn’t sound like it comes from the 1940s, so it feels like the wrong universe. It’s futuristic, not retro-futuristic, if that makes sense. Also I should think a little less epic sound would suit Han Solo better. It’s beautiful and exciting music, just sure not how I imagine the subject matter.

 

I don't know what to think about Williams' Han Solo theme. I think I agree that I imagined something different. The music is too complex or busy for his character. I imagine something more cocky or boastful right off the bat. It is great writing, but I am not sure if it will stick from a memorability standpoint. 

[toothless 963]

I can't explain why but this score gives me a huge smile and I'm just on track 3

[MikeH 768]

The thing I absolutely enjoy about this score is that it’s Powell’s voice through and through with no pretense to try and be a JW knock-off. And when that Golden Age sound comes into play during certain moments, it actually sounds authentic and organic and not pastiche. Ditto for the Star Wars quotes.  

[Kasey Kockroach 2,343]

Spoiler

I can sadly say that the Darth Maul scene isn't on the OST. Having now played the whole thing, it seems like one of the tiny handful of things not included.

 

[mrbellamy 6,270]

I don't think the long, slow version of Han's theme toward the end is on here either, when he and Chewie are traveling back to the Marauders?

[Kasey Kockroach 2,343]

I don't remember...which is to say, kind of forgot the movie already. 

[PrayodiBA 517]

i love how Powell really plays with his themes:

 

For example the chewie/Friendship theme* . It consists of 3/4 phrases

(* first i thought it was similar note to note with Terminator Salvation, but then i realized it is the first two phrases played in minor that makes it vaguely similar, but the original arrangement as a whole is quite different)

 

First heard in this track "Flying With Chewie" in its suspense mode, 00:07-00:24

 

In its solemn mode in this track at 2:16 - 2:40

 

 

And then to its danger mode in this track, at 4:07 - 4:22 ( i really love the "push" in its third phrase)

 

 

To its GLORY MODE (this is the true Powell!) in this track at 0:45 - 1:04

 

 

And then to its cheerful mode in this track at 2:54 - 3:13

 

 

My god! so much to analyze in this score!

[DominicCobb 194]

Saw the film, really liked the music. There’s some modern stuff in there but it seems to fit well with the mostly orchestral score. Good to hear the spinoffs moving slightly away from the strict Williams style.

 

I liked the Han theme, but it was hard to keep track of it (though it was usually easy assume when it was playing). I guess this is one of the downsides of having so many themes, the main one isn’t majorly prominent (I can see why Powell would want to work in some of his own thematic material too), though it is of course in there quite a bit.

 

One thing that was really interesting was how Powell handled the old Williams material. He wasn’t just referencing themes or motifs, but specific film cues (temp love?). I caught the Asteroid Field and Here They Come (obviously), a track with the Death Star motif (the specific one of which I’m forgetting), and I think the Battle of Crait? And that was all in one sequence. For the most part though the quotes were done sparingly and fittingly (more so than Giacchino, I think). 

 

Will pick up the CD tomorrow.

[Chen G. 3,942]

2 minutes ago, DominicCobb said:

Saw the film, really liked the music. There’s some modern stuff in there but it seems to fit well with the mostly orchestral score. Good to hear the spinoffs moving slightly away from the strict Williams style.

 

I liked the Han theme, but it was hard to keep track of it (though it was usually easy assume when it was playing). I guess this is one of the downsides of having so many themes, the main one isn’t majorly prominent (I can see why Powell would want to work in some of his own thematic material too), though it is of course in there quite a bit.

 

One thing that was really interesting was how Powell handled the old Williams material. He wasn’t just referencing themes or motifs, but specific film cues (temp love?). I caught the Asteroid Field and Here They Come (obviously), a track with the Death Star motif (the specific one of which I’m forgetting), and I think the Battle of Crait? And that was all in one sequence. For the most part though the quotes were done sparingly and fittingly (more so than Giacchino, I think). 

 

 

Stuff like Battle of Crait would probably be the result of temp-track emulation because it has no bearing on this fiilm. But we knew going in that the Asteroid Field was going to be a thing: was it used anywhere near asteroids, though?

[mrbellamy 6,270]

The Crait thing, he's most likely talking about that bit from "Adventures of Han" that sounds similar and gets referenced in that sequence. 

[Arpy 4,145]

Just gave the album a once-through, first impressions: Powell has done a great job with this score, handling his own themes and Williams'! 

 

I think Powell has been allowed to do his own thing here where Giacchino was always shadowing Williams' by sounding authentically like pastiche patch-work. I think however that Powell's sound is still erring on the side of RCP here, which is distracting because it doesn't match the style of the other scores at times making it jarring to hear the older themes appear in a new modern context.

 

Both this and R1 both make good attempts to sound like a part of the same musical tapestry, but I feel expresses how Williams is possibly the sole suitor for the series, that no-one can deviate for the fault of not sounding 'Star Wars-y' enough, sounding like pastiche or sounding completely different.

 

Ah, but I'm not disappointed by any means, I adore Williams' new Han theme suite which just outshines everything else, until next year of course...

[leeallen01 2,133]

Lando's Closet. WOW. It's like classic John Barry.

 

Only listened to a couple pieces on Disney youtube so far and they're out of order I think because I can't be bothered to order them, but Williams' theme seems to be everywhere. Both A and B sections in every way possible. A shame Powell didn't get to do his own main theme because it kind of feels like another Chamber of Secrets in parts. Also heard a bit of RCP ostinato writing already, which makes me nervous as I continue through the tracks...

 

 

[Holko 9,491]

First complete listen through, very first raw thoughts are...  FUCK YEAH!

 

Letting it restart after Dice Roll to finish with Adventures of Han does seem to be a very good way to go, intentional or not.