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0:41 - 0:42 It's crazy to me how you can have even just a single second of music like this such that, were you to hear it completely out of context, you'd still know exactly who the composer was and for what set of movies that moment was from. It's undeniably Williams doing his undeniably Star Wars sound. Love it.

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Here's another curiosity: The statement of Rey's Theme (the "sweeping" variant, specifically) on Ahch-To is a single semitone higher in the film than it is on the album. Film version is in F-minor, album version in E-minor. Listen here: https://drive.google.com/open?id=19v6aSiPphw4orLVYBStiSmNUhW9N12rj This is another case where, because of the poor sound quality we currently have, it's hard to tell if it's tracked-and-pitch-adjusted or an actual alternate cue. If it's tracked, it would seem to be overlain with a high sustained string pitch A♭6 for the first four seconds or so. Whatever the case, it speaks to the fact this was a heavily edited and continuously reshaped sequence, something already suspected by many of us.

Here's some cue titles from the SABAM repertoire.

It's funny how all 3 trilogies present completely different, nightmarish challenges for a comprehensive expansion. OT: Master tapes in poor/questionable condition and variable formats (3-tracks, multi-tracks, stereo) which require extensive restoration/remastering, lost tapes/missing elements from ROTJ, separate album/film mixes on first two scores, newly recorded music for SE... but there's few alternates so the music should be easy to assemble, and Mike already researched this in 1997. PT: A mix of analogue and digital recordings, AOTC has the infamous hiss embedded in the audio, narrative holes due to excessive tracking, some cues with different mixes between film and album, multiple versions of some cues due to changing edits, various percussion overlays used inconsistently... but not too many alternates and music shouldn't need extensive remastering. ST: A hellish mix of revisions/inserts/unused cues, with multiple versions of cues catering to different cuts of each film, making a definitive assembly with a cohesive listening experience almost impossible... but at least everything exists digitally!

Absolutely, it's those trademark flourishes where you instantly have a smile on your face upon first hearing it, just because it's such a distillation of Williams in this writing mode. Same with that great opening brass flourish in The Last Jedi, and the first Kylo Ren arrival in TFA.

A Thematic Breakdown of: THE MANDALORIAN: SEASON ONE Music composed by Ludwig Goransson Part 1 of 4 Themes in Chapters 1 & 2 (in order of appearance) Recorder Riff (original presentation) "Western" Motif "Travelling" Motif The Client * Mando Utility Motif (recently discovered) * Dramatic Utility Motif (previously known as Mando Culture) "Forge" Motif Recorder Riff (skeletal presentation) Chime Motif Dies Irae (traditional) The Child Razor Crest Jawa Motif * - utility refers to the fact that Goransson uses the theme(s) whenever he needs to without leitmotific significance CHAPTER 1 1. Hey Mando! (2:14) 0:00 Recorder Riff 0:23 Recorder Riff (increasing distortion) 1:42 Western Motif (piano w/ distorted guitar) 1:48 Western Motif (piano w/ interlude) 1:55 Western Motif (piano) 2:01 Western Motif (piano) 2. Face to Face (5:13) 0:00 Travelling Motif 0:42 Recorder Riff (variation) 1:06 Travelling Motif Recorder Riff (variation) 2:45 The Client 3:22 Recorder Riff (variation) 3. Back for Beskar (2:26) 0:00 Western Motif (piano) 0:07 Western Motif (piano) 0:15 Western Motif (piano) 0:23 Western Motif (piano) 0:32 Mando Utility Theme (high strings) 0:46 Dramatic Utility Theme Mando Utility Theme (high strings) 1:02 Dramatic Utility Theme Mando Utility Theme 1:16 Dramatic Utility Theme Mando Utility Theme 1:55 Mando Utility Theme 4. HammerTime (2:18) 0:15 Forge Motif 0:27 Forge Motif 0:46 Recorder Riff (orchestral variation) 1:18 Forge Motif 5. Blurg Attack (1:26) 0:17 Recorder Riff (skeletal variation) 0:29 Recorder Riff (skeletal variation) 0:57 Chime Motif Recorder Riff (skeletal variation) 1:05 Fanfare 6. You Are a Mandalorian (3:56) 0:34 Recorder Riff (skeletal variation) 0:46 Recorder Riff 1:56 Recorder Riff (skeletal variation) 2:11 Fanfare 2:42 Recorder Riff 2:53 Recorder Riff (skeletal variation) 3:04 Recorder Riff (skeletal variation) 3:26 Recorder Riff (skeletal variation) 3:37 Recorder Riff (skeletal variation) 7. Bounty Droid (3:03) 1:23-1:55 Dies Irae (traditional) 8. The Asset (1:36) 0:55 The Child 1:23 Recorder Riff 9. The Mandalorian (3:19) 0:00 Recorder Riff 0:23 Recorder Riff (increasing distortion) 0:46 Western Motif (piano w/ distorted guitar) 0:52 Western Motif (piano) 0:58 Western Motif (piano w/ interlude) 1:04 Western Motif (piano w/ interlude) 1:09 Western Motif (piano w/ interlude) Fanfare 1:15 Western Motif (piano w/ interlude) 1:21 Western Motif (piano w/ interlude) 1:26 Recorder Riff Western Motif (triangle [?] w/ interlude) 1:32 Recorder Riff Western Motif (triangle [?] w/ interlude) 1:39 Fanfare Western Motif (triangle [?] w/ interlude) 1:44 Western Motif (triangle [?] w/ interlude) 1:50 Western Motif (triangle [?] w/ interlude) 2:09 Razor Crest 2:20 Razor Crest 2:33 Recorder Riff Western Motif (interlude) 2:38 Recorder Riff Western Motif (triangle [?] w/ interlude) 2:45 Recorder Riff (skeletal variation) Western Motif (triangle [?] w/ interlude) 2:51 Recorder Riff (skeletal variation) 2:56 Chime Motif CHAPTER 2: THE CHILD 1. Walking on Mud (1:39) 0:15 Recorder Riff 0:45 Recorder Riff (increasing distortion) 1:18 Western Motif (piano w/ distorted guitar) 1:23 Western Motif (piano) 2. Jawas Attack (3:47) 0:00 Jawa Motif (underlying rhythm) 0:03 Travelling Motif 0:20 Travelling Motif 0:32 Jawa Motif (underlying rhythm) 0:40 Jawa Motif (underlying rhythm) 0:47 Jawa Motif (underlying rhythm) 0:54 Jawa Motif (underlying rhythm) 0:58 Jawa Motif (underlying rhythm) 1:12 Jawa Motif 1:20 Jawa Motif 1:27 Jawa Motif 1:34 Jawa Motif 1:39 Jawa Motif (underlying rhythm) 1:53 Jawa Motif 2:01 Jawa Motif 2:08 Jawa Motif 2:22 Jawa Motif (underlying rhythm) 3:12 Jawa Motif 3:20 Jawa Motif 3:35 Jawa Motif (underlying rhythm) 3. Trashed Crest (2:19) 0:06 Recorder Riff 0:38 Fanfare (variation) 1:24 Recorder Riff (skeletal variation) 1:34 Fanfare 2:03 Recorder Riff 4. To the Jawas (1:36) 0:00 Chime Motif 0:12 Recorder Riff 0:21 Fanfare 0:37 Jawa Motif 0:48 Jawa Motif 0:54 Recorder Riff (skeletal variation) 0:56 Recorder Riff (skeletal variation) Western Motif (interlude) 1:02 Recorder Riff (skeletal variation) Western Motif (interlude) 1:08 Recorder Riff 1:19 Recorder Riff 5. The Egg (2:55) 0:00 Jawa Motif (underlying rhythm) 0:17 Jawa Motif (underlying rhythm) 0:26 Jawa Motif 0:34 Jawa Motif 0:40 Jawa Motif (underlying rhythm) 1:00 Recorder Riff 1:17 Recorder Riff 2:22 (see 4:30 The Hangar - Chapter 5, 2:16 Nice Family & 2:05 Mando's Back - Chapter 6) 6. The Mudhorn (3:01) 2:11 The Child 2:34 Recorder Riff 7. Celebration (3:32) 0:01 Mando Utility Theme (orchestral) 0:13 Mando Utility Theme (orchestral) 0:23 Jawa Motif (underlying rhythm) 0:30 Jawa Motif (underlying rhythm) 0:49 Jawa Motif 1:09 Recorder Riff (skeletal variation) 1:14 Recorder Riff (skeletal variation) 1:23 Fanfare 2:07 Jawa Motif (underlying rhythm) (percussion) 2:23 Recorder Riff 2:48 Fanfare 8. The Next Journey (2:36) 0:00 Recorder Riff (skeletal variation) 0:12 Recorder Riff (skeletal variation) 0:23 Recorder Riff (skeletal variation) 0:35 Western Motif (piano) 0:44 Western Motif (piano w/ interlude) 0:49 Western Motif (piano w/ interlude) 0:55 Western Motif (piano) 1:01 Fanfare 1:22 Razor Crest 1:33 Razor Crest 1:47 Recorder Riff (variation) 1:58 Chime Motif 2:14 Recorder Riff (skeletal variation) I'm working on Part 2 (Chapters 3,4) as you read this. Any cross-referencing would be great as I am only one person and could've easily missed or misinterpreted the music at times. It takes a good deal of time, but it has been a lot of fun revisiting the albums in order so I'm happy to do it.

"and when JJ baby said the We Go Together theme should show how much our heroes very truly care for one another, I said 'well that's wonderful news because at long last, the saga will have its very first love theme'".

Well, it's his biopic.

Time to get excited for Call of the Wild, and then otherwise stop caring about film music again once that’s out!

I just hope Zimmer takes it on as a solo gig (or as solo as he gets). This has everything it takes to get him real inspired.

He's gonna be like "I should have moved here a long time ago"

I'm excited for Dune, film and score. From the little I've heard from him, this might be Zimmer finally truly inspired again!

I saw David Arnold reply to a tweet saying that he only received his TRoS FYC yesterday... whether that was referring to just the DVD of the film, I don’t know... but it might be hopeful!

yep, really cool! Also, thanks for the shou-out! Contrary to popular opinion I really liked JW's inclusion of the main fanfare. It made me realize "yep, that's it. That's the end. He brings it back to where it all started back in May 77'... one last time...". It made me really emotional and I think it's a touching finale.

John and Daisy share a kiss and they're surrounded by Ewoks. Turns out Hans Zimmer is John's father and JJ is Daisy's brother. JJ burns down the last copy of Rian's The Last Jedi. George, Jar Jar and Rian reappear as ghosts. Mark Hamill sings the Life Day Song from the Holiday Special. The End. Written and Directed by THE FORCE

This is kinda terrifying. You would think one thing advancements in technology do is make it easier to make sense of things. ST is just pure chaos. Like seriously what they hell have they even done with the music. It's like the entire score exists in 5 second increments. I think the approach to take with the sequel trilogy scores should be that all of the extended cues that Williams recorded during the scoring sessions should be considered the music as intended by the composer - (allowing for alternates etc.) - but it should largely be extended pieces of music as recorded by Williams. The film assembly - with its massacred approach - should be relegated to the film only - an isolated score like TLJ did it. Because the music is other wise un- assemblable.

I did some editing and put together an end credits medley that I would prefer over the current one. I don't know if it's better, but my main goal was to replace the Imperial March and the Main Title music while still preserving the big operatic ending. At the same time also showcasing @heidl's fantastic covers.

Daisy: I love you...r music. JW: I know.

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Tracks on JW OST albums that are 100% recorded just for the album: Checkmate The entire album Diamond Head The entire album How To Steal A Million The entire album Not With My Wife, You Don't! The entire album Penelope The entire album other than the title song Fitzwilly The entire album Earthquake The entire album Jaws The entire album The Missouri Breaks The entire album Star Wars Princess Leia's Theme The Fury The entire album Superman - The Movie March of the Villains Love Theme from Superman, though this also plays in its entirety in the end credits of the film after the End Credits cue The Empire Strikes Back The Imperial March Yoda's Theme E.T. The Extra-Terrestrial Abandoned And Pursued E.T. And Me E.T.'s Halloween Flying Over The Moon Monsignor The Meeting In Sicily At The Forum Return of the Jedi Luke And Leia Parade Of The Ewoks Lapti Nek (Jabba's Palace Band) The Forest Battle The River Growing Up The Pony Ride Love Theme from The River The Ancestral Home, though this ended up getting used in the final film From Farm to Factory Young Friends Farewell Home Alone Star Of Bethlehem (Orchestral Version) Have Yourself A Merry Little Christmas - this special version of the song specifically recorded for the album (the 2015 La-La Land edition premiered the actual film cue version) Home Alone 2 Somewhere in My Memory Star of Bethlehem Christmas Star Schindler's List Jewish Town (Krakow Ghetto - Winter ’41) Amistad Cinque’s Theme The Phantom Menace Anakin's Theme, though this also plays in the end credits of the film after the End Credits cue Angela's Ashes Angela’s Prayer Plenty Of Fish And Chips In Heaven The Lanes Of Limerick Harry Potter and the Sorcerer's Stone Prologue (see more information about the Children's Suite below) Fluffy's Harp (see more information about the Children's Suite below) Attack of the Clones Across The Stars Harry Potter and the Chamber of Secrets Fawkes The Phoenix The Chamber of Secrets Dobby The House Elf Revenge of the Sith Battle of the Heroes Memoirs of a Geisha The Chairman's Waltz Indiana Jones and the Kingdom of the Crystal Skull The Raiders March (new recording of 1980 arrangement) Call Of The Crystal The Adventures of Mutt Lincoln The People's House With Malice Toward None Elegy With Malice Toward None (Piano Solo) The Book Thief Max and Liesel The Force Awakens Rey's Theme The March of the Resistance Scherzo For X-Wings The BFG Overture The Last Jedi The Rebellion is Reborn The Rise of Skywalker The Rise of Skywalker Anthem of Evil (possibly - no confirmation yet) Tracks on JW OST albums that combine film cues with album-only recordings : The Return of the Jedi Han Solo Returns (At The Court Of Jabba The Hutt) is in actuality a portion of the film cue 3M2 The Big Thaw [0:00-2:47] combined with a portion of the album-only concert arrangement Jabba The Hutt [2:47-end]. The actual full recording of Jabba The Hutt remains unreleased to this day Ewok Celebration and Finale is in actuality the album-only recording Ewok Celebration [0:00-1:56] & the film cue End Credits [1:56-end] Home Alone Home Alone Main Title ("Somewhere In My Memory") is in actuality the film cues 1M2 Home Alone (Main Theme) [0:00-1:04] & 2M2 Banished to the Attic [1:04-1:32] & the album-only recording Somewhere in My Memory (Album Intro) [1:32-2:31] & the film cue 11M4B End Title Part II [2:31-end]. The 2015 La-La Land expansion finally presented just Somewhere in My Memory (Album Intro) & 11M4B End Title Part II together without the 1M2 & 2M2 bits as Somewhere In My Memory, disc 1 track 1. Jurassic Park Theme From Jurassic Park is in actuality the album-only 3M2 Record Intro & the film cue 3M2 The Dinosaurs & the album-only 3M2 Wompi Ending Harry Potter and the Sorcerer's Stone Diagon Alley and The Gringotts Vault is really a portion of Children's Suite track Diagon Alley & the film cue 2M4 Diagon Alley Hogwarts Forever! and The Moving Stairs is really the film cue 4M5 The Moving Stairs & Children's Suite track Hogwarts Forever Harry Potter and the Prisoner of Azkaban A Window To The Past is in actuality a unique recorder solo & portions of the film cues 7M12 End Credits & 4M3+4 New Woods Walk and Birds Flight & 7M2 Insert A.I. Artificial Intelligence The Search For The Blue Fairy is in actuality a portion of 7M1+2 (Vocal Version) Finding The Blue Fairy [0:00-2:28] & a portion of Theme #2 CD version [2:28-end] Catch Me If You Can The Float is as combination of the album-only 7M4 Front Extension with the film cue 7M4 Frank and Carl with the album-only 7M4 End Extension Recollections (The Father's Theme) is possibly also a film cue with album extensions? Memoirs of a Geisha The Journey to the Hanamachi is in actuality a portion of 1M1 Alt The Opening [0:00-1:58] & an album-only recording called Theme [1:58-end] War Horse Learning The Call seems to combine a portion of 1M7 Learning the Call [0:00-0:43] with album-only material [0:43-1:56] with a portion of 1M8 Whistling Montage [1:56-2:28] with more album-only material [2:28-end] Lincoln The Southern Delegation and the Dream combines the film cues 3M18 The Southern Delegation Arrives [0:00-2:06] and 7M51 Lincoln Responds To Southern V.P. [2:06-3:05] with the album-only cue Prayer (Strings) [3:05-end] The BFG Dream Jars is in actuality a series of album-only flute pieces and some of 4M37 Flute Sweeteners [0:00-2:18] followed by a most of the film cue 2M18 Dream Jars [2:18-end] The Post Mother and Daughter seems to combine the film cue (as heard on the FYC album) with unique album-only material afterward The Presses Roll seems to combine the film cue (as heard on the FYC album, though the ending of Setting The Type is tracked over the end there) with unique album-only material afterward Notes on other OST tracks that look like concert arrangements, or got published for concert performance, etc... but are actually 100% film cues: Star Wars Main Title is in actuality 1M2 Main Title & 12M2 End Titles Superman - The Movie Theme From Superman (Main Title) is in actuality 1M1 Main Title & End Title 1941 The March From 1941 is an edit of 14M2 End Credits Swing, Swing, Swing is a film cue, 7M4 Swing, Swing, Swing Finale is 14M2 End Credits without edits The Empire Strikes Back Han Solo and the Princess is a film cue, 5M4/6M1 Solo And The Princess Raiders of the Lost Ark Raiders of the Lost Ark is 12M2 End Credits Part 2 Marion's Theme is in actuality two film cues, 10M4 En Bateau & 4M2 To Cairo The Raiders March is an edit of 12M2 End Credits Part 2 Indiana Jones and the Temple of Doom Short Round's Theme is a film cue, 3M3/4M1 The Elephant Ride SpaceCamp SpaceCamp is the end credits The Witches of Eastwick The Dance of the Witches & End Credits (The Dance of the Witches Reprise) are both identical presentations of End Credits Indiana Jones and the Last Crusade Scherzo For Motorcycle And Orchestra is the film cue 7M2 Keeping Up With The Joneses is the film cue 9M2 Schindler's List Theme From Schindler's List is in actuality 20M3 Placing The Stones Remembrances is in actuality 20M4 Alt End Credits Remembrances (With Itzhak Perlman) is in actuality 20M4 End Credits Theme From Schindler's List (Reprise) is in actuality 20M4 Piano & 20M4 Extension Sleepers Hell's Kitchen is actually the end credits (8M5 New Hell's Kitchen) Rosewood Rosewood is in actuality 1M1 Rosewood & End Credit The Lost World The Lost World is The Lost World (End Credits) Finale & Jurassic Park Theme is a portion of 14m2 The Saving Dart & a new recording of a concert arrangement from the first movie (not recorded during that film's sessions) Saving Private Ryan Hymm To The Fallen & Hymm To The Fallen (Reprise) are identical presentations of 17M2 Hymm To The Fallen The Phantom Menace Duel of the Fates is actually 7M3 End Credits Angela's Ashes Theme From Angela's Ashes and track Angela's Ashes Reprise are identical presentation of the end credits The Patriot The Patriot is End Credits with the ending missing The Patriot Reprise is End Credits with the ending intact A.I. Artificial Intelligence Abandoned in the Woods is in actuality Opening End Credits Harry Potter and the Sorcerer's Stone Harry's Wondrous World is 9M3 End Credits Part 1 Hedwig's Theme is 9M3 End Credits Part 2 Minority Report Minority Report is in actuality 8M2 End Credits Sean's Theme is in actuality 8M1 Alt Piano Version A New Beginning is a repeat of the second half of 8M2 End Credits, with a loop inserted. The Terminal The Tale Of Viktor Navorski is in actuality End Credits Jazz Autographs is in actuality End Credits Part II "Destiny"... "Canneloni"... and the Tale of Viktor Navorski (Reprise) is in actuality 7M4 Destiny... Cannaloni & a repeat of End Credits (edited) A Happy Navorski Ending! is a portion of 5M4 Amelia (already heard in OST track 2) & End Credits Tango Ending (unique to this track) Indiana Jones and the Kindgom of the Crystal Skull Irina's Theme is really just portions of 1M4NR Irina Spalko & 3M28 Russians Reappear & 7M56 End Credit The Adventures of Tintin The Adventures of Tintin is in actuality Tinker-Tin Rev (the third Main Title cue attempted) Snowy's Theme is in actuality Snowy's End Title The Secret of the Scrolls is in actuality a bunch of film cues edited together The Adventure Continues is in actuality Dueling End Title Lincoln Freedom's Call is actually 7M60 Hymm Version [0:00-4:46] followed by 7M52v3 Lincoln's Battlefield Visit [4:46-5:55] and the final chord of 4M30v2 The Telegraph Office [5:55-end], which incidentally is also heard at the end of OST track 2. These scores are confirmed to have nothing recorded specifically for album use Close Encounters of the Third Kind Jaws 2 Dracula Empire of the Sun Always Stanley & Iris Hook Far and Away War of the Worlds Not yet factored into this list / I've never analyzed these albums at all: Cinderella Liberty The Eiger Sanction Images The Towering Inferno The Accidental Tourist Born on the Fourth of July Presumed Innocent JFK Sabrina Nixon Seven Years in Tibet Stepmom Munich The rest of the film scores JW composed had no OST album, so everything released when the specialty labels got to them was recorded for film use (as far as we know).

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"Modernize" is just a cover name for indoctrinating 007 into the Hollywood world of woke bullshit. Which will create just as much backlash as Star Wars did. And I'll look forward to it. Also, employing Hans Zimmer to record another retread of the stuff he's done for 25 years, is almost the polar opposite of modernization.

Even if he claims so, it won't be true.

I see. Dream Country is one of the best pieces JW wrote in a long time. I would recommend it to anyone who loves great old school JW orchestration.

Marvellous, thank you! I'd like to meet you all, especially Marian and StormLord - we tried last year, despite of the circumstances, didn't we? ;-) Let's hope we find a place not too far from the Musikverein and, please, not too late (I intend to drive home to Graz afterwards) ... looking forward to seeing you all and chatting about past and present (!) experiences! <3 Bye, Martinland and family

They are saying all the things you and Joe love to deny. It's great!

Wow. Not a single thing to really look forward to. Maybe the three choices of Edmilson above, for one listen each.

I prefer Northern Ireland nowadays. Atleast they're loyal!

People will eventually realize that the greatest contribution Revenge of the Sith gave humanity is Backstroke of the West

It's a great work. I prefer it over The Rite of Spring.

I got it and now I'm warming up to The Firebird, which I never did before.

Yavar, you are really beyond satire sometimes...

The transitions from Anthem of Evil to The Speeder Chase & The Rise of Skywalker to the Main Theme are really nice.

I don't think a lot of you have any idea of what's involved in creating artwork that will stand out. There's absolutely nothing wrong with the fonts utilized in this digital cover for TTI (in my humble opinion of course). To each their own. I personally believe that Jim Titus did a fantastic job with this. He's one of the best graphic designers going around today and it's no wonder he is highly sought after by the various boutique record labels. I once again congratulate JT on a job well done!

Classic FM no longer works when you're outside the UK... I'll look into Gaelic radio stations though.

BREXIT, you mean?

No, but Leaf will

Continuing my catchup. Howard SHORE! MY PRECHIOUSSSS!!!! AHHHHH!!!!

Well that escalated quickly. This is why we can't have nice things.

It wasn't streamed for a small window, thx99 simply happened to discover the URL a few hours before it was taken down. It was streaming long before that, we just had no idea. Again, it was streaming so members of the music branch could decide if they wanted to nominate it to be one of the 5 nominees announced on Monday that the entire academy will afterwards vote on to determine the winner. It was taken down at 5pm PST on that day, which was the day their nominations had to be submitted by. If @thx99 hadn't figure out the URL a few hours before that deadline, wed never have heard this album. He's a hero.

There are more pressing issues than Star Wars music is racist and here's why John Williams sucks Like how my city is under attack by my own country because CHINA GOOD and FREEDOM BAD. I'm grateful to have encountered John Williams' music at a young age, or else I would've ended up becoming yet another brainless slave. Would I love to see a Hongkonger become a Hollywood composer? Yes! Am I an aspiring composer/student? Yes and I'd love to work for Hollywood even tho It's quite impossible given my financial situation. Another can of tear gas fired. Yippee. In AOTC, there is an entire chase scored with music infused with Asian influences. Asian music employed to convey a sense of heroism in an exciting Hollywood chase scene! Is that racist? No! SW is about the fight against tyranny and injustice. Nothing in Star Wars is as bad as the bigotry on display in my country. Another can of tear gas fired. Yippee. So Guy Who Writes Click-Baity Articles For The Washington Post, stop selling your death sticks, go home and rethink your life.

Approaching the Throne (OST), Parents (FYC), Coming Together (FYC), The Force is with You (OST), and Farewell (OST) make for a very satisfying climatic listening experience that is rooted in drama rather than spectacle. Probably my favorite stretch of music combining both albums.

Zimmer has the talent to write a good score but his attitude towards blockbuster scoring over the 10/15 years has been terrible. He even isn't in my top 20 score composers of the 21st century. I am deeply passionate about Bond music. I was introduced to film music by watching those movies. I knew of John Barry before I knew of John Williams. So this is what it felt like to read today's news:

I am not expecting to like this score but I will check out the OST album with an open mind

Well this news has confirmed that the time to die is in fact now.

JW: So Anne-Sophie is many things... but she certainly isn’t a woman you can say no to. Daisy: ...

"I'm glad to see you're finally wearing your black turtleneck. It's really the only game in town. Now, about shaving your hea-- don't give me that look."

So, John, don't you get sad of every year getting nominated to the Oscars and loosing it to mediocre composers? When I was younger, yeah, but these days I hardly care anymore. Usually I spend most of the ceremony sleeping. Tommy Newman once complained that I snored too loudly and it was impossible to hear the acceptance speeches.