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It's a good track, but "The Asteroid Field" remains my favourite SW action cue.

I’ve got a couple brief restored score videos for fragments of The Rise of Skywalker cues that got tracked into different scenes. First up is ‘Filial Fencing’ (1M2?). The Luke and Leia duel flashback was apparently the original opening of the film and lasted considerably longer; the documentary shows several shots for this sequence that didn’t make the final cut being filmed. ’Filial Fencing’ is tracked into the scene where dark Rey appears, but I believe it was intended for this original opening, and the more threatening tone makes sense given that we wouldn’t initially know this was Luke and Leia. https://drive.google.com/file/d/1rbkgM0IhnARLaM5WHbFFORl9u_6OBxH2/view?usp=drivesdk A cue titled ‘The Feeling’ is tracked where Rey realizes Chewbacca is still alive. It seems most likely intended for this scene of Finn and Jannah which prominently features the phrase “a feeling” in the dialogue (ultimately tracked with music from The Force Awakens): https://drive.google.com/file/d/1lQJluM0CoKRBb_kDARrwBC1tzms6oLbz/view?usp=drivesdk

@Jay@crumbs@Falstaft@Ludwig@ragoz350 So, I think I may have figured out one oddity in the TROS cue list. I was having trouble imagining how the big ship would blow up in 8M7 Big Ship Blows Up, but then Finn and Jannah’s fate is seemingly left unresolved until several cues later in 8M10 Success and Sliding. 8M1 Approaching the Emperor #2 8M4 Psalm of the Sith 8M5 Jumping The Chain 8M7 Big Ship Blows Up 8M8 On Their Knees 8M10 Success and Sliding I think 8M7 may instead actually be an early version of 7M36 Dunkirk, for the scene where Lando and the giant fleet show up. (It’s listed as ‘The Dunkirk Shot’ in the databases. Same thing, or was it revised again?) The scene does in fact also feature a big ship blowing up: 8M9 would theoretically be an early version of 7M38 I Am All The Sith. And then one can discern the same basic flow of events as the final cut in the list of cues above. The missing 8M2 and/or 8M3 would be an early version of 7M30 More Action. The thing that was tripping me up is that 8M7 (or part of it, more likely) is used later on in the November 11th cut, but there’s such an enormous amount of tracking it wouldn’t surprise me to learn this wasn’t the place it was intended for.

What is that? Says 4th February 2022. Deutsche Grammophone. 4 Discs. Not sure what it is. https://www.amazon.de/dp/B09KN2QCP4/

After studying so many of Williams' action cues and looking at this one, it's clear that "Here They Come" doesn't draw on his go-to materials for action writing in any significant way (i.e., octatonic and hexatonic scales). Sure, there are elements of them, of course, but the main vamp of the cue defies any consistent use of a scale or harmonic pattern. And yet it doesn't sound like a patchwork in the least. It seems that Williams had developed his action style enough even by this time to have a large buffet of options at his disposal. And what comes across is the confidence in being able to harness them without a compositional pattern in mind but simply by blending them into a coherent and distinctive battle-music cue. This, to me, is one of Williams' greatest strengths as a film composer: to be able to take more-or-less common materials (at least for action writing in this case) and shape them into something distinctive. Original while being entirely traditional (for film music) at the same time.

YES!! I figure the concert on 4K Blu-Ray, regular Blu-Ray with possible bonus interviews included, and two CDs for the concert in audio form. Perfect timing.

Huh. Interesting theory and could observation about another big ship blowing up!

Still, 150 minutes of movie quality is much more worth than 450 minutes of series quality. It's not only the cinema experience, but also the mis-en-scène that I wouldn't want to miss.

Fuck TV series, it has always been predestinated for the big screen.

"Neapolitan Girl" is my favorite on the album, but literally every track is a winner on that one. The string arrangement on Neapolitan is just so bubbly and delightful.

Was listening yesterday again to Bang Goes the Knighthood and thought again, Down in the Streets below sounds very ABBA style musically. Like good ABBA. It is something about the chords and the melody. Just Frieda's second voice in the chorus is missing.

The direct copy/paste only happens in Superstructure Chase, which I find appropriate as a way to finish the trilogy going full circle. Sail Barge Assault (the new version) had to be composed in between sessions because the original piece was rejected, so Williams ended up using every material he could to create the 5-minute action cue in just a couple of days. (However, it is NOT a copy of Here They Come)

Sure, if they put in no care like the ones who did these covers or if they do zero effort shit like the demasters or that coke poster cover.

I guess my subtle response to the question was not obvious, so I’ll be blunt. There is NO DIFFERENCE whatsoever, editorial blunders and missing music. It is exactly the same. Disney screwed the pooch with this release; I, in turn, addressed all editorial mishaps and missing music, fixed every issue and burned everything on two replacement discs.

Of all the action music Williams wrote for Star Wars, one of my very favorite cues is Here They Come from A New Hope: It's a fast paced, energetic cue brilliantly performed by the LSO and it fits the movie very well. Also, I think this cue encapsulates the very spirit of Star Wars: the Rebels' daring escapades from the Empire, the sense of adventure and fun, the sheer spectacle of it... It's Star Wars at its best. I also really like the Here They Come version from The Last Jedi: What about you? Post your favorite performances of Here They Come!

No time to dye

Probably stuff like this

I think you're oversimplifying a creative issue. Two things I notice comparing the original cover to the new one are that the falling guy on the right is a lot bigger and clearer, and that Eastwood's ice axe is placed cleanly between the two words of the title. Exactly what creative decisions were behind this placement, only the Intrada guys can tell us, but those are just two possible reasons why someone might have decided to zoom in on the original image, and perhaps didn't think that seeing his entire foot was particularly important. You're taking creative decisions that you don't necessarily agree with, and just filing them under 'incompetence' every time, without knowing the full context of why they chose to do it that way. The fact that they altered it for future pressings shows they're listening to subsequent feedback and acting on it, which is good.

A title as vague as "The Berlin Concert, duuuh" looks like a JWFan description Nice to see them aiming for JW's 90th birthsday!

The flute does make a few appearances every now and then. Most notably here:

Movie was kind of silly and all over the place, but entertaining. Daniel Craig's death was...okay. I was more moved when we lost M in Skyfall.

Mind. Blown.

As I recall it, she has a lot of very sad woodwind writing, but nothing that really comes back within the film: it takes until Attack of the Clones for a figure that we associate with her to reappear, and its reprised at least once more within that film and is arguably echoed in Revenge of the Sith.

It's Roger Waters' first solo album (and his only good solo album).

Its an action ostinato, mostly to do with Spaceship dogfights. Besides, leitmotives do sometimes change their associations across a long cycle such as this: I mean, the Rebel Fanfare started life as a theme for the blockade runner, morphed in the scoring process into a theme for the Rebels and, come the sequel trilogy, became the theme of the Falcon. I mean, why do we hear the theme of the magic gold when Siegfried confronts the Wanderer? Because after an 11-year hiatus from the Ring, Wagner came back to his themes and decided that this theme, which was associated with the Rhinedaughters' joyous call to the gold, worked better as a more general "joy" theme. Its the same kind of dramatic association, only more generalized as opposed to specific. The same is true here. As a paralle to the same moment in The Empire Strikes Back. Again, why does the "Renounciation [of love]" theme appears when Siegmund pulls the sword from the tree in the name of love? The theme conveys the opposite message to the intent of the scene. Its there as a parallel of Alberich cursing love in the same spot in the previous evening. That's really just for affect. Williams had been doing this ever since Leia's theme for Ben's death; and again, its not unheard of as a practice. I mean, why do we hear the Tarnhelm when Waltraute says that Wotan came back with the spear in pieces? That has nothing to do with the Tarnhelm, and very little even to do with magic in general, and its not making some kind of palpable parallel: its really just there for affect. Its a device that I only like when used in extreme moderation, which is not the case with some Williams scores, but nevertheless is something composers do.

You’re welcome! The only thing that would potentially bother me at all is the missing music, and I already have that on the OST. I suspect I won’t miss it and none of it will bother me, as I have only seen the movie twice in 25 years.

The use in Return of the Jedi is kinda lazy in that Williams had been asked to reuse material directly from the original film (in one of Return of the Jedi's many overdone attempts to model itself on the original film) and then use the same music again at the end of the film. But again, since leitmotives are based on repetition, I think it ultimately works. And yes, The Last Jedi is definitely the least "original" Star Wars score: so many themes returning too often in too familiar a guise, often lifted directly from existing cues and concert arrangements. When it happens once or twice a-la "Here They Come!" its fine; or when it happens tongue-in-cheek like the quote of the Emperor theme (always reminds me of "von Tristan und Isolde kenn' ich ein traurig Stück") its great. But when its really just "ah, a vaguely-impactful moment! I know what to do, Binary Sunset!", a piece that was already become formulaic in its use as the finale of both Revenge of the Sith and The Force Awakens, it gets to be a little much. But then, there are moments of tremendous pathos like the Luke and Leia material. Very hard to describe that moment: we haven't heard it since Return of the Jedi, and even in that we barely got to hear it much. So to hear it all this time later was truly a coup.

Totally agree about the unfortunate timeline of these two musical nostalgia bursts. I actually find the reuse in ROTJ lazier from a musical standpoint, particularly since it shows up in both Sail Barge Assault and Superstructure Chase (right?). Honestly, what marred the appearance in TLJ for me was more that it was the third major needle-drop of that score, after the concert suite appearances for Leia and Yoda (with all those scenes' attendant baggage in the lore). By the time the salt cave chase arrived, TLJ had so thoroughly lost me that the recycled music hit differently than it would have in a film I was enjoying. Regardless of my reaction to TLJ's plot, though, I also found the staging of that sequence so similar to the Star Destroyer wreckage chase from the immediately prior film (Millennium Falcon dueling a small number of TIE fighters in a long, narrow tunnel) that it struck me as a boring choice in the middle of an already derivative speeders-and-walkers battle. This is off-topic, but it leads me to articulate a particular bugaboo of mine about TLJ that I don't think I'd thought of before: for a film that was so determined to torch the Star Wars playbook (and received nonstop fawning in the entertainment press for doing just that), nearly every major sequence in it has an immediate analogue in either ESB or ROTJ: base escape, reluctant mentor meeting, protracted space pursuit, opulent resort interlude, abortive departure from would-be mentor, self-turn-in to woo villain to the light, throne room torture/betrayal scene, infiltration of enemy capital ship (that's from ANH), "snow" battle with speeders and walkers. The two lightsaber duels are the film's most iconic scenes because they're two of its only totally original ideas.

Probably I will not rework it before the nd of the Month. So, here it is, my fanfare for brass quintett: I structured it as far as I could. Part I like, the main theme for example. Parts would require clean-up or more structure. But I am no pro and it is the first time that I did something like this. Therefore I am a little proud. But sure, I know, I could have done more.

No wonder! Look at the Premiere in 1978 of Star Wars in Brazil: A stormtrooper is overlooking the Dome Of The Rock in Jerusalem (Israel), but other than that, it's not a big deal.

No more cross-fading. Bell overlays included at the beginning of The Bells of Notre Dame, as well as the audio of the choir at the end restored and boosted to reflect the film. Feast of Fools and Topsy Turvy are now one track, with the gypsy jig starting the track, then the next cue starting, with the final fanfare segueing directly into Topsy Turvy, just as intended and utilized in the film. The Cathedral no longer suffers from the string audio volume cutting in and out in one section, and the correct choir take is utilized. The reprise of Heaven's Light is restored and inserted in it's intended place in Escape. Most importantly, Sanctuary is one entire track, and includes And He Shall Smite the Wicked; all music included. Emergence and The Bells of Notre Dame (Reprise) are now one track.

Is there a summary somewhere of the the mishaps and issues you fixed? Yavar

Ultimately, @Chen G., this issue is gonna be a very subjective one. But for me, the joy of hearing it quoted in TLJ was the well-placed surprise dose of nostalgia. Suddenly I was hearing an amazing piece of Star Wars musical history that hadn't poked its head out in a long time. I could have just as easily had the same reaction to Solo if it'd been released first, or if the films had been separated by enough years. But with them being released so close together, Solo's scene ended up feeling like kind of a cheap shot to me on first viewing. Like, "Hey, you just used that move on me a few months ago!"

Hour of the Gun didn't do much for me, but that Red Pony suite is a must have.

Yeah. As i have the ost of GUN, the RP suite was a big selling point ( along with the price). I'm not really familiar with it so I'm hoping for a pleasant surprise!

I gotta be honest, I'm not really a fan of Solo's version of the cue. I love John Powell's action writing, but I don't think it merges itself very well with JW's writing from the 1970s.

Luke's. First. Crash.

Where's my fellow Attacking a Star Destroyer enthusiasts?

My appreciation for this cue (and the lead-in from "Ben's Death") just keeps getting stronger and stronger as the years pass. It's too bad both TLJ and Solo decided to play the same nostalgia card just 6 months apart - otherwise, I really like both takes on the material. Anyway, some Williams action music can start to sound slightly interchangeable. Happens to the best composers; it's all good. But this writing is quite unique amongst all his works I've heard. And it perfectly demonstrates what I love most about Williams: his balance between accessibility and interestingness.

Yes, it's a great one. One of the reasons Waxman is my favourite Golden Ager is his innate sense of modernity that is often overlooked, i.e. his ability to merge the typical Viennese "histrionics" with whatever was happening in contemporary concert music, jazz or other things.

Terrific batch arrived recently: Legend (MBR) by Jerry Goldsmith Star Wars: Shadow of the Empire by Joel McNeely CE3K/Star Wars performed by Gerhardt TPM (Ultimate Edition) by John Williams (just to comfort myself from the absence of expansion yet)

I love the SE release's mix, top tier film score cue of all time. I feel the concert piece restructuring only hurts it.

May I try to disperse the enveloping depression by pointing out that the music sounds exactly the same on all releases, and the liner notes are identical? I suppose some people have a low threshold for what they regard as being ‘shat on’. Mark

I'd guess it's this one - I remembered her telling the story in the 2020 "May the Fourth" Hangout, and it sounds close: So she just got her Astronauts mixed up

It's a re-recording of selected pieces done in London at the time, and it's head and shoulders above the tinny tv recording, recording wise, but also in the more measured performance.

What do you mean, what?

Well MV can think what he wants, but there sure seems to be a demand for these tracks on this forum at least.