Smaug The Iron

I have all of these OST albums on CD (plus Star Wars and TESB on vinyl, not some modern reissue vinyl, the actual vinyl from the 70s/80s), but I never listen to any of them, I prefer the complete versions

This is probably one of my favorite unreleased cue from the film. 
 

Everything Luke said about the Jedi failure with Sidious was true. 

Luke’s theme appears 7 times in the score, not counting the main title and the end credits. 
During the opening battle  Luke reunited with R2 BB8 fighting with the guards on Canto Bight BB8 disguise himself with a trash can Leia stuns Poe Leia and Holdo saying goodbye  The slave children are playing with a Luke Skywalker doll. 2, 3, 7 = OST
1, 7 = FYC
4, 5, 6 = unreleased 

Yes it is. Quigon does not like the tight rules of the Jedi (that's why he is not a council master ). In attack of the clones Yoda talk about the Jedi being arrogant, looking at mace windu. And also their blindness not seeing the war unfolding. Anakin fall is because the rigidity of Jedi laws....
 
 
And Luke can know everything about the prequels looking into archives when the rebels conquer coruscant for example...

I thought it made perfect sense. Luke doesn't want to repeat the mistakes of the Jedi, which had enabled Darth Sidious to take over the Republic. With history repeating itself far too much in this damn universe and Luke being the first of the new Jedi at this time, it's his call whether to train Ray in the old style or just end the Jedi altogether. The choice is clear! Time for those Jedi to end.

Luke’s theme appears 7 times in the score, not counting the main title and the end credits. 
During the opening battle  Luke reunited with R2 BB8 fighting with the guards on Canto Bight BB8 disguise himself with a trash can Leia stuns Poe Leia and Holdo saying goodbye  The slave children are playing with a Luke Skywalker doll. 2, 3, 7 = OST
1, 7 = FYC
4, 5, 6 = unreleased 

But the only memorable bits from Rogue One's score are when Giacchino does just that.

Luke’s theme appears 7 times in the score, not counting the main title and the end credits. 
During the opening battle  Luke reunited with R2 BB8 fighting with the guards on Canto Bight BB8 disguise himself with a trash can Leia stuns Poe Leia and Holdo saying goodbye  The slave children are playing with a Luke Skywalker doll. 2, 3, 7 = OST
1, 7 = FYC
4, 5, 6 = unreleased 

Luke’s theme appears 7 times in the score, not counting the main title and the end credits. 
During the opening battle  Luke reunited with R2 BB8 fighting with the guards on Canto Bight BB8 disguise himself with a trash can Leia stuns Poe Leia and Holdo saying goodbye  The slave children are playing with a Luke Skywalker doll. 2, 3, 7 = OST
1, 7 = FYC
4, 5, 6 = unreleased 

Rose’s theme>>>>>>>> Any new theme from Rouge One. 

And yet, any time someone attempts to discuss the score, someone immediately jumps down their throat to tell them they're wrong, or flagrantly disregard any point they made (case in point, your post directly above about the harmonic development of MOTR). I don't know how many times I have to make the exact same point before it finally sinks in.
 
Oh, really? Can you please post a single quote from Williams claiming any such thing about his score for The Last Jedi? He commented that TFA had about 8 minutes of existing themes but the rest is new, and I'm yet to see any evidence that contradicts this.
 
As for your comment about 'how composers work', I must have missed the Supreme Court ruling that all composers needed to conform to your opinion of their workflow. Who are you to claim "how Williams works" or "how Shore works"? Such a naive comment to make about any artist, much less one with the breadth and diversity of work that Williams has.

Rose’s theme>>>>>>>> Any new theme from Rouge One. 

Suing you for the pain resultant from the eyerolling I just experienced.
 
Given your distaste for the score, why do you incessantly post about it?  Do you honestly have nothing better to do with your time?  Are you THAT determined that everyone know precisely how correct you are and precisely how incorrect everyone else is on this particular subject?
 
You anti-TLJ folk are off the deep end, fella.
 
I agree with this ... and I love Giacchino's score!

Would love to know how Rose's, Luke's or Holdo's themes are just, "recycled from the OT," but I've long-since given up expecting any justification for the obnoxious and vapid whinging about TLJ. Just an endless series of useless, irrelevant trolling that adds nothing to the discussion except to waste everyone's time.

Rose’s theme>>>>>>>> Any new theme from Rouge One. 

Rose’s theme>>>>>>>> Any new theme from Rouge One. 

TLJ vs. KOTCS  6 - 0

I must have stumbled into an alternate universe of willful ignorance, where people simply ignore the actual contents of the score when critiquing it. The same universe where Rose's Theme, Holdo's Theme and Luke's Exile Theme don't exist, where they don't feature in a bounty of variations throughout the film in unreleased cues, alongside a further handful of new motifs that reoccur throughout the complete score.
 
I understand people being disappointed in the score as presented on album (I could do without the multiple appearances of Yoda's Theme in favour of unreleased Holdo material), as it created a very skewed representation of the score's material. Yes, it's undeniable the score relied more on existing themes than TFA did (which Williams claims only had 7 minutes of existing material), but to outright trash the entire score when you could just as easily create an alternate 78 minute presentation of only new material, is just being ignorant. You could just as easily create alternate OSTs for 4 or 5 of the other sequels which skew the ratio of new vs old.
 
Regardless, the film features an undeniable synergy between music and imagery, again embarrassing the output of his contemporaries and exceeding what he achieved with TFA (and I always thought that score fit the film like a glove, but the edits and crappy mix do it a huge disservice). If the level of craft on display in cues like Holdo's Resolve, Escape or The Spark is now considered "mediocre" film scoring, examples of "great" modern film cues must be truly orgasmic.

Complaining about TLJ's use of older themes is like complaining about the Force Theme in Losing A Hand from ESB because it's a theme he wrote for ANH.
 
Williams' usage of existing themes in TLJ, most notably TFA themes, is undeniably masterful. Retrospectively it'd be nice to think he was intentionally holding back on TFA from developing the new themes to their fullest potential (which is unusual for Williams and more in line with what Shore did for LOTR -- a concept I was hounded down about because, "Williams just doesn't develop themes that way.")
 
Personally I think it's more likely his health condition on TFA prevented him from extrapolating upon those themes to their fullest potential in TFA, but TLJ's plotting (taking place directly after TFA) conveniently allowed him to write music he probably intended for TFA. Regardless of your thoughts on the score, it's undeniable that TLJ is filled with energy and vibrancy that TFA often lacks, resulting in a restrained score which, in hindsight, works perfectly as an introductory score to a new trilogy of scores.

I don't think I've ever seen gkgyver post anything positive on these forums.

What a silly post.
 
The Fathiers, The Escape, The Last Jedi, A New Alliance, The Battle of Crait, Holdo's Resolve, Chrome Dome etc. do not exist?

I am fairly certain this will get a digital release as well, meaning not only will people be able to just buy it electronically, it might also be streamable on Spotify / Apple Music / Google Play and the like
 
If only Rhino would have put out a press release before websites started listing it for sale....

There are all kinds of different tastes in the world. That’s what makes it go round and round.
 
To me, TLJ is the best score of 2017.

Or maybe those defending Williams' work truly believe it is a great soundtrack, even for a Star Wars score, and have just as every bit a right to their own opinion as those criticizing the score?
 
"...or they're in denial"... that's pretty ironic coming from you, judging by your taste and professed love for certain objectively poor movies.