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It’s incredible. For me, TFA somehow started my intense JW-fandom. It was like a wake-up call, realizing he was still very much alive and kicking and I’d better follow everything he did while I still could. It’s funny how I was anxiously waiting for news about TLJ, whether he could do it or not – let alone finish the trilogy. And here we are in 2020, feeling like he could potentially do another trilogy of films still. What a gift this man is.

Looks nice.

Some new info for anyone interested in these nitty-gritty details (paging @Jay @Disco Stu), plus how much unreleased music there might be (counting the FYC, not very much). Complete Cue List 1M2 “The Girl I Left Behind Me” + “Quickstep” 1M4 Ver 1 “The Dream” 1M4 Ver 2 “Battle Cry of Freedom” 1M4 Ver 3 “American Process Ver” 1M5 “Mary’s First Scene” 1M10 “The People” 1M13 Ver 5 Rev. “Soldier Boy” Solo Piano (Poss…“City Point”) 1M14 “Sleeping Tad” 1M14 Ver 2 “Sleeping Tad” 2M12 “Talk With Tad” 2M14 “Tad Asleep” 2M14 Rev “Tad Asleep” 3M16 “Country Sweetener” 3M16 Ver 2 “Getting Out the Vote” 3M18 “The Southern Delegation Arrives” 3M20 “Remembering Willy” 4M24 “More Bad News” 4M26 “Sweetening Bilbo” 4M28 “Message from Grant and Decisions” 4M28 Alt “Lincoln and Seward” 4M28 Rev “Message from Grant and Decisions” 4M29 “No Sixteen Year Olds Left” 4M29 Rev “No Sixteen Year Olds Left” 4M30 “The Telegraph Office” 4M30 Ver II “The Telegraph Office” 5M32 “The Purpose of the Amendment” 5M34 “Equality Under The Law” 5M38 “Robert At The Hospital” 5M41 “Lincoln And Mr. Yeaman” 6M42 Ver 1 “Welcome To This House” 6M42 Ver 2 “Welcome To This House” 6M44 “Delivering The Message” 6M46 “The American Process” 6M46 Rev “The American Process” 6M48 “Battle Cry Of Freedom” 6M50 “Thaddeus And Lydia” 7M51 “Lincoln Responds To Southern V.P.” 7M52 Ver 1 “Prayer”…At City Point 7M52 Ver 2 “Lincoln’s Battlefield Visit” 7M52 Ver 3 “Lincoln’s Battlefield Visit” 7M52 Ver 4 “City Point” 7M52 Ver 6 Trumpet Version 7M52A “Lincoln and Grant” 7M52A Ver 2 “Lincoln and Grant” 7M53 “Lee’s Departure” 7M54 “To Ford’s Theatre” 7M54 Rev “To Ford’s Theatre” 7M54 Rev New Ending 7M58 “Now He Belongs To The Ages” 7M58 Rev “Now He Belongs To The Ages” 7M58 Rev II “Now He Belongs To The Ages” 7M58 Rev String Ending 7M60 “With Malice Toward None” (Ver) 7M60 Hymn Ver Hymn (Piano) Hymn (Stgs) “Prayer” (Orch) “Prayer” (Brass) “Prayer” (Stgs) “Soldier Boy” (Solo Piano) ((Poss. City Point)) “The People’s House” OST Breakdown 1 The People’s House 3:43 “The People’s House” 2 The Purpose of the Amendment 3:08 0:00-1:40 6M42 Ver 1 “Welcome To This House” 1:40-2:24 6M50 “Thaddeus and Lydia” 2:24-end 4M30 Ver II “The Telegraph Office” 3 Getting Out the Vote 2:49 3M16 Ver 2 “Getting Out the Vote” 4 The American Process 3:58 0:00-1:18 6M46 Rev “The American Process” 1:18-2:10 7M58 Rev II “Now He Belongs To The Ages” 2:10-end 7M60 “With Malice Toward None” 5 The Blue and Grey 3:01 0:00-1:01 7M52 Ver 4 “City Point” 1:01-end 4M28 Rev “Message from Grant and Decisions” 6 With Malice Toward None 1:51 Hymn (Strings) 7 Call To Muster and Battle Cry of Freedom 2:18 0:00-0:33 1M2 “The Girl I Left Behind Me” + “Quickstep” 0:33-end 6M48 “Battle Cry of Freedom” 8 The Southern Delegation and the Dream 4:44 0:00-2:12 3M18 “The Southern Delegation Arrives” 2:12-3:05 7M51 “Lincoln Responds To Southern V.P.” 3:05-end “Prayer” (Strings) 9 Father and Son 1:43 1M14 “Sleeping Tad” 10 The Race To The House 2:42 4M26 “Sweetening Bilbo” 11 Equality Under the Law 3:13 0:00-1:37 5M41 “Lincoln and Mr. Yehman” 1:37-end 5M34 “Equality Under the Law” 12 Freedom’s Call 6:09 0:00-4:46 7M60 Hymn Version 4:46-end 7M52 Ver 3 “Lincoln’s Battlefield Visit” 13 Elegy 2:35 “Prayer” (Orchestral) 14 Remembering Willie 1:52 3M20 “Remembering Willie” 15 Appomattox, April 9, 1865 2:39 0:00-1:09 7M52A Ver 2 “Lincoln and Grant” 1:09-end 7M53 “Lee’s Departure” 16 The Peterson House and Finale 11:00 0:00-1:49 7M58 Rev II “Now He Belongs To The Ages” 1:49-2:44 7M58 Rev “Now He Belongs To The Ages” 2:44-3:13 7M58 Rev II (continued) 3:13-5:43 “The People’s House” 5:43-9:28 7M60 “With Malice Toward None” 9:28-end “Soldier Boy” (Solo Piano) 17 With Malice Toward None (Piano Solo) 1:32 Hymn (Piano) FYC Breakdown 1 Quickstep and the American Process 1:37 0:00-0:36 1M2 “The Girl I Left Behind Me” + “Quickstep” 0:21-end 1M4 Ver 3 “American Process Ver” 2 Sleeping Tad 1:43 1M14 Sleeping Tad 3 With Malice Toward None 0:47 7M60 “With Malice Toward None” 4 Getting Out the Vote 2:32 3M16 Ver 2 “Getting Out the Vote” 5 The Southern Delegation Arrives 2:13 3M18 “The Southern Delegation Arrives” 6 Remembering Willie 1:50 3M20 “Remembering Willie” 7 Message from Grant and Decisions 2:35 4M28 Rev “Message from Grant and Decisions” 8 No Sixteen-Year-Olds Left 1:52 4M29 Rev “No Sixteen Year Olds Left” [first ending] 9 The Telegraph Office 1:45 0:00-0:52 “The People’s House” 0:52-1:11 4M30 “The Telegraph Office” 1:11-end “The People’s House” (continued) 10 The Purpose of the Amendment 1:28 5M32 “The Purpose of the Amendment” 11 Equality Under The Law 1:34 5M34 “Equality Under The Law” 12 Welcome To This House 1:42 6M42 Ver 1 “Welcome To This House” 13 The American Process 2:26 6M46 Rev “The American Process” 14 Lincoln Responds To Southern VP 1:18 7M51 “Lincoln Responds To Southern V.P.” 15 City Point 1:17 “Soldier Boy” (Solo Piano) 16 Lincoln and Grant/Lee’s Departure 1:57 0:00-0:27 7M52A “Lincoln and Grant” 0:27-end 7M53 “Lee’s Departure” 17 Trumpet Hymn 1:07 7M52 Ver 6 Trumpet Version 18 Now He Belongs To The Ages 2:48 0:00-1:48 7M58 Rev II “Now He Belongs To The Ages” 1:48-end 7M58 Rev String Ending 19 End Credits 8:14 0:00-0:29 7M58 Rev II “Now He Belongs To The Ages” 0:29-2:59 “The People’s House” 2:59-6:43 7M60 “With Malice Toward None” 6:43-end “Soldier Boy” (Solo Piano)

Happy 50th birthday to Christopher Nolan! While I don't subscribe to the cult-like adoration, I have enjoyed (to varying degrees) every film he'd done. Here's to many more to come.

Order shipped! Oh yeah!

That's a great OST.

You may be onto a less specifically associated .. thing (less than a motif, more like a recurring setting), it definitely appears more throughout the score:

I'm very much looking forward to purchasing the soundtrack on compact disc digital audio for greater sound quality and dynamic range when it's eventually released.

I'm currently watching the German broadcast of the Vienna concert... finally. WHAT A PERFORMANCE FOR E.T.!!! I had tears in my eyes, and God knowns how many time I listened to this piece before. WOW!

It's not really a danger motif, it just 3-6 intervals that show up in a lot of Williams scores 2:29 of Jones is Shot 0:46 of Austrian Way 0:45:

Does anybody else get a Danny Elfman vibe from " Witches Dance"?

Nobody connected to that in the first place. It was big because everybody checked it out based on the hype, then saw it once or twice more to make sure they weren't mistaken and it really was that bad.

Not really a score, but Yo-Yo Ma plays the music of John Williams I think I haven't listened to this since I've gotten the Sony boxset, and honestly I was a bit worn out by the end of that first runthrough and mostly just skipped through this one a bit. But hoo boy is it good!

BACK TO THE FUTURE MCA

I haven't listened to any of the CD's yet, still waiting for one of the Sectors to arrive so I can listen to each album in order of release, lol.

If Varese owns the rights to this score in perpetuity, only they could do a new version. If they don't, then because Disney owns Fox now, only Intrada could do a new version. Either way, I don't think it would be high on either label's priority list to revisit it. Which is a shame, because even though the DE was already complete, it could use a sonic upgrade (and the Harry Rabinowitz cue should be included as a bonus track since they did include the Robert Garrett cue)

Thanks @Jay and @BrotherSound, have updated the spreadsheet. Shame that 5M38 Robert at the Hospital wasn't included on the FYC, it's certainly the meatiest of the 3 unreleased film cues.

You’re right: from the choral entrance to the end of OST 15 is 7M53, same as the FYC track. I’ve updated my original post.

The FYC track "Lincoln And Grant/Lee's Departure" contains 0:00-0:26 = 7M52A Lincoln and Grant (the end of the cue only, the beginning of the cue was certainly recorded but is unavailable anywhere) 0:26-end = 7M53 Lee's Departure (complete) The OST track "Appomattox - April 9, 1865" contains 0:00-1:09 = 7M52Av2 Lincoln and Grant (the beginning of the cue only, the ending was certainly recorded but is unavailable anywhere) 1:09-end = 7M53 Lee's Departure (complete) So when @Disco Stu says Lee's Departure is a highlight of the FYC, I'm not sure what he means because that cue was always on the OST. Unless he's referring to the opening 26 seconds, The "Lincoln and Grant" part, which isn't.

Safe to say you're bored in isolation when you assemble a complete score spreadsheet for Lincoln, but hopefully this saves someone else the trouble. Enjoy! Huge thanks to @BrotherSound for providing the complete cue list and breakdown of OST/FYC, which made this spreadsheet possible. A few interesting discoveries: Other than source music (which is plentiful) only 3 film cues remain in the film that are entirely unreleased (clips available in spreadsheet) I suspect at least two of 7M54 “To Ford’s Theatre”, 7M54 Rev “To Ford’s Theatre” and 7M54 Rev New Ending were recorded, based on the fact this cue was replaced by tracked music in the final cut (7M52 Ver 6 Trumpet Version) I suspect all versions of 7M52 were recorded because 3 turned up between the OST & FYC (and, like 7M54, the final film replaced Williams' intended versions with something else) Several cue titles correspond with scenes that remain in the final cut, indicating lots of Williams underscore which went unused Seems there were a couple of deleted scenes early in the film which Williams scored (2M12 “Talk With Tad," 2M14 “Tad Asleep”) unless these scenes were originally in reel 2 and later moved to reel 1 (and re-scored with 1M14 “Sleeping Tad” / 1M14 Ver 2 “Sleeping Tad”)

I wonder how many people did... it was the Napster era! Actually now that I think about it, I too had it on a CDR that a friend made me. In recent years I finally bought a legit used copy. I forgot about that, lol.

I bought the soundtrack album from Spider-Man 2 when I was twelve years old not realizing there was a score album also Still liked the songs, and the album contained two suites from the score so it wasn't anything to complain about!

I'll design my Customizable Shelves for Soundtracks OnlyTM and sell them to JWFanners for a discount.

They do the job and they're definitely affordable! Btw, if you don't want vertical dividers and have access to a proper table saw, it's quite easy to modify a Billy shelf to reduce the shelf's depth.

Thanks JS! Those Ikea shelves seem like a good option.

I totally understand your need, and it's frustrating there's so few options out there (at least here in Norway). My best advice, that would also be available in Australia, is to purchase several of Ikea's Benno / Gnedby CD shelves, and mount them together. If you dislike the double walls, you could modify them without too much work. https://www.instructables.com/id/Improved-Ikea-Benno-CD-shelf/ It's not a perfect solution - you can't increase the width of each room, but you can at lease vary the height. And it's two meters tall, so you won't waste much vertical space. EDIT: Note that if you want a door on the shelves, to avoid dust and sun bleaching, or toddlers, you could mount two Benno / Gnedby shelves together without removing the double wall in the middle, because then you can fit a 40 cm wide Benny door on it.

It's like poetry. They rhyme.

Found this LLL cd in my city at a jumble sale for 60 cents. Sealed! Totally unexpected...

Listening to Beneath the Planet of the Apes right now, for only the second time. Forgot how much I liked it.

@Edmilson I agree concerning Ren's Themes. The thing I love about the Imperial March/Vader's Theme is that it has the range to sound menacing without being forceful. Some of the quieter statements of Vader's Theme sound deliciously evil without needing to bash us over the head with how evil he is. That also speaks to the sense that Vader doesn't seem inherently evil compared to Kylo Ren. That said, I like how Williams uses Ren's main theme as a sort of punctuation - it's short and punchy whereas Vader's theme is longer and more malleable..

Use the bumper, that’s what it’s for.

Looks like that despite the relative brevity of the score in the film, Williams was writing quite a lot of different versions and variations on the same cues.

Wow, that's a considerably longer cue list than I would have guessed for this movie. Thank you as always @BrotherSound!

So Dune might be on their plans. That would be awesome

The plot of this series could be totally as unexpected as: dinosaurs get out of control and starts to kill people!

I've been meaning to get another thread going for analyzing and appreciating a track from The Rise of Skywalker. So what does everyone think of "Approaching the Throne" (7m20), a true knock-out cue in my opinion. I can get the ball rolling by offering a section-by-section breakdown. It's a stupendously rich piece of music in terms of thematic references and developments -- at least 10 independent motivic components, and I'm probably missing a few important details. Apologies too if this is restating stuff that's already been identified and discussed. 0:00-0:20: Deep, slow procession in D-minor, with a Halting Rhythmic Figure, scurrying strings and growing dissonance. Weirdly, the FYC and film version begins in C-minor, and modulates halfway through to D. Unclear if this is the sign of an alternate version of the cue or another instance of inexplicable pitch-shifting -- maybe because "The Battle of the Resistance" it succeeds ended in C. Also, that Halting Rhythmic Figure appears in an unreleased bit of score of the overall sequence (1:40:46) when Rey first takes the Exegol elevator down: there it's in F-minor -- again, not clear if it's pitch-shifted or a genuinely new variant? 0:20-0:45: A big swell onto a D-minor chord for the Palpatine Throne, gathering dissonance after its initial "reveal." 0:45-0:58: More highly dissonant, atonal material; dialed-out in the film in favor of Sith chanting. 0:58-1:15: Statement of an Insidious Minor Figure motif in parallel minor thirds (C-B-D-Eb-A) that comes up here and a few other occasions on Exegol. Related to the Psalm of the Sith leitmotif. Followed by a squirmy cousin of of the Sith Wayfinder motif (1:06) and a very brief Psalm of the Sith tag in muted brass (Eb-Gb-F). 1:15-1:30: Harmonically "darkened" version of Rey's Theme under Palpatine's dialogue that gives way to a couple of suspenseful chords. 1:30-2:00: Two rotations through the Psalm of the Sith-derived Canon, first on A-minor, then, because of the imitation at the minor-third, F#-minor. Quite clearly inspired by "Palpatine's Instructions" from ROTS to my ears (and, by extension, Vaughan Williams's 6th symphony). Appropriate, since he's once again literally instructing someone, now Rey on how she needs to kill him. Previewed elsewhere in the score in some interesting ways. 2:00-2:15: Big (and last?) statement of the Sith Wayfinder Motif, overlain with the Insidious Minor Figure. I love this moment. 2:15-2:30: Cut to space-battle, with music that recalls Psalm of the Sith (E-G-F#-A#) in melodic outline but even more-so Tension in rhythm and affect. Cool contrapuntal interplay between higher-strings on this idea and lower instruments continuing with it around 2:23. Naturally, all of this fantastic musical detail is virtually inaudible in the film. 2:32-2:43: Completely new Battle Theme in A-minor, especially notable b/c its close to being "grammatical" in @Ludwig's terms, having a pretty balanced beginning/middle/end structure. If anyone can point to precedents or links between this melody and other parts of the score, I would love to know! (And I bet @BrotherSound too) 2:43-2:46: Little return to the Tension idea from before, transitions to... 2:47-2:54: A key-change to C-min and second, incomplete statement of new Battle Theme from the winds. 2:54-3:11: A great pair of chromatic sequences, first down (Fm - DbM7/F - E - CM7/E - Ebm - CbM7/Eb) then back up from Em to Fm. Some familiar Williamsy wind+xyl stabs in there too. 3:11-3:19: A quite glorious trumpet statement of the TROS Victory Theme in D-major. Replaced in the film by a splice of the 2:32 Battle Theme for...reasons? 3:20-3:25: Two phrases worth of very ANH-flavored pounding dissonant chords, like Bbm/A. 3:25-3:40: Big C-minor statement of the March of the Resistance, one of the best in the series, and possibly its last. A lot of orchestrational details in strings and winds that are hard to pick out on the recording. 3:40-3:54: Some very tense but non-motivic interstitial material, serving to build up to... 3:55-End: "The time has come!" for a huge choral outburst on B-minor chord, intoning some as-yet unidentified text. The closest we get to Duel of the Fates in the Sequel Trilogy.

I said ORIGINAL trilogy!

The organizers at the WSA are salivating over the idea of getting their hands on KM's deets.

Anything but Joker. It was fine, but not best score in 12 months. Rise of Skywalker here.

She's not

SD card 277, music cue 4.

Perhaps it is, but in the here and now, John's music (as written for orchestra) sounds about as "dated" to me as Tchaikovsky's, or Walton's - which is to say that by and large it isn't dated much at all. Probably because the sound of a real orchestra will always be current. I disagree with this on a fundamental level because I'm of school of thought that believes aesthetics sit at the top of the hierarchical pecking order when thinking about the lasting impact of music. Hans Zimmer chooses to harness new technologies when producing his sound, which inherently places his music strictly in the here and now. In the short term it sounds cool and occasionally maverick, but in the end technology is replaced by technology - and obsolescence bleeds into the synths and samples that once made the harmonies and rhythms feel so resonant and exciting. In the end, productions turn into the quaint and the kitsch, soundtracking from bygone times. I think Jeff Wayne's The War of the Worlds is a good example of this. Still an enjoyable album, but very much a product of its time. We can listen along to it, quite patronisingly. Orchestral or symphonic music, while not completely immune to the pitfalls mentioned (Williams has written certain pieces which feel stylistically dated), fares far better than "pop scoring" simply by virtue of it being untethered from technology. Because pure accousic sound is intrinsically timeless. Anyway. I listened to the track in the OP. The only way I can describe it is epically generic. That's not to say I don't enjoy it, because I do. Guilty pleasure written all over it, I'd like to hear a fully orchestral version of the arrangement.

I have to say: I'm not a fan of Kylo Ren's theme, both of them. They're too agressive, too epic, and just too outward evil, for a character that is not as powerful or cruel or menacing as Vader or even Maul. I think this is a theme for a more frightening character than poor Ben Solo. I wish Williams was a little more subtle with the theme. Like, he has to address the menace the character represents (he is - so far - the main antagonist, lol), but also wrote about his inner conflicts, him being "torn apart" on the inside, anyway... It's not the character is the most complex villain ever written (far from it), but he presented an opportunity for great psychological scoring by Williams. Unless Williams is being more subtle than we know, and Kylo's terrifying themes are how he sees himself, as a powerful and fearsome Sith and the rightful heir to Darth Vader - until, of course, he discovers the sad truth. That said, I loved the performances of his theme when he is destroying his helmet and then when he realizes he has been tricked by Luke.

By and large, i still feel very satisfied that i have this box since ten years (and for a great price, too) and never would exchange that for a 10+ yer wait just to have a few minor grievances fixed.

Unpouplar Opinion: the Concord Indy box set was a good release that just had some problems, nothing crippling.