Evanus

I've been making way way through this score this week in pieces during commutes and man, I'm discovering so much more about it than I even realized was in here.
 
I feel like for a long time I only really noticed the Han A and B themes, Enfys Nest theme, and old JW themes from the old movies for the most part
 
Now I hear Chewie's theme, Secrets, L337's theme, the gang theme, Qi'Ra's theme, etc all over the score. Not a lot of time goes by without one of the themes popping up, and they are always different renditions every time.

This score is a real gem.  Boy, it's a shame Disney screwed up the marketing of the film and we aren't already on our way to finishing up a trilogy with this cast and composer by now

I laughed so friggin' hard!
 
 

I can’t stop laughing at this. 

Absolutely. This doesn't need to be a sycophantic exercise in nostalgia (something now, in retrospect, I wish Obi-Wan was more of), but the sound is crucial and one of the few things that needs grounding in this franchise.

Oh he absolutely can, just like she can too, I just hope Britell will be allowed to do a better job than Holt.

Huh. After total disinterest so far, this could maybe actually be... something.

Finally caught the film and actually enjoyed the pulpy nonsense of it all. Helped that I spent 2 months seeing everyone trash it, so my expectations were low.
 
Thought Gia's score was great! Not as good as Fallen Kingdom but much more mature than Jurassic World. The cue where Grant/Ellie fly to Biosyn was an instant favourite (A-Biosyn We Will Go). Da Bike and Da Plane obviously. Therizinosaurus Will Be Blood is incredibly effective in the film, as was the opening logo cue (album mix is disappointingly muted by comparison).
 
Love the early cues with Blue and Beta, especially the music on oboe as she ventures through the snow (1:01 onwards, track 5). Love how the theme returns with broader orchestration when the two raptors journey in tandem, nice touch. The flute material that opens Free-Range Kidnapping is gorgeous; doesn't seem to be a recurring idea sadly... it really should be.
 
All the percussive material for the Malta scenes works a treat, fantastically recorded too. I appreciated the restraint and more emotional grounding for the last few cues (both the montage in A-O-Kayla and the various goodbyes in All The Jurassic World's A Rage). A lovely way to close the trilogy, especially the rarely used B-section of the Jurassic Park theme in the end credits.
 
There's definitely a maturity to Gia's writing across the trilogy and he's improved out of sight integrating JW's material alongside his own (maybe except the island fanfare in that moment with the Giga).
 
Has anyone checked the film to see what's unreleased from the digital album? At first glance the Pyroraptor on Ice cue seems to be missing, also the cue where Dilophosaurs are stalking Claire. Overall I think the highlights are accounted for though, and all the Williams quotes are intact... and the sessions will leak within a year so whatever

I'm not entirely sure about all of them, but here's what I found:
 
Main theme / co-existence
Theme that represents mankind and dinosaurs co-existing. Similar to Fallen Kingdom's main theme, but less ominous. Only used in the beginning and ending of the film, as far as I'm aware.
 
Timestamps:
 
 
Giganotosaurus theme
The first theme heard in the score, generally used for the Giganotosaurus. Can be heard almost every time it appears on screen.
 
Timestamps:
 
 
Giganotosaurus "clang"
Aggressive clang sound with some sort of echo effect, also used to signify the Giganotosaurus. Can be heard several times in the film and is used in the prologue as well.
 
Timestamps:
 
 
Biosyn theme
Adventerous theme for Biosyn, mostly used for Alan and Ellie traveling to Biosyn HQ.
 
Timestamps:
 
 
Ellie Sattler / locust investigation theme (?)
I'm not entirely sure what this theme represents, but I think it's linked to Ellie and the locust investigation plot.
 
Timestamps:
 
 
Maisie / Charlotte Lockwood
A theme for Maisie and her past. Used prominently when she finds out about her “mother”, Charlotte.
 
Timestamps:
 
 
Kayla (?)
This seems to be a theme for Kayla, although I'm not sure. A Poignant melody, capturing the feeling of the story coming to an end. Appears a few times at the end of the film.
 
Timestamps:
 
 
 Blue and Beta
Only appears once IIRC, but it's prominent enough to be considered a new theme I'd say. Sounds really cute!
 
Timestamp:
 
 
And here’s a rough breakdown of the suite:
(0:00 – 0:13) : Giganotosaurus
(0:19 – 4:32) : Biosyn
(4:38 – 6:05) : Ellie Sattler/Locust investigation
(6:12 – 6:49) : Maisie / Charlotte Lockwood
(6:50 – 7:40) : Kayla
(7:42 – 8:30) : Jurassic World theme
(8:31 – end) : Jurassic Park theme
 
There it is. I probably missed something, but these are all the themes I’ve heard so far.

It seems odd to me that Williams would have that kind of power. In the end, doesn't Lucasfilm own the themes? I mean, they were used all the time in Clone Wars, Rebels, the video games, etc...

https://www.rollingstone.co.uk/tv/news/bear-mccreary-confirmed-as-composer-of-the-lord-of-the-rings-the-rings-of-power-20549/

Bear is an obvious choice. He's reliable, well known, knows how to score TV, and compared to doing a full orchestral score, comes relatively cheap.
 
Which is what makes him all wrong for the project. I mean, when PJ's LOTR was announced, who picked the guy who scored Dogma & Striptease to score? Anyone? I was personally guessing and hoping for Horner after Braveheart.  I was wrong, and happily so.
 
Bear (again, who is a talented guy) composing just brings the underlying problem with the show into sharp relief, i.e. Amazon fundamentally doesn't understand the thing they paid so much money for. So they're just treating it like any other big-budget fantasy show, which is why it's going to look and sound like every other big budget fantasy show. Need a composer? Hey, let's get the biggest TV composer out there, that will do the trick! He did a great job with these other scifi/fantasy projects, so he's perfect for Middle-Earth!  It's all the same after all! Gnomes and people with swords and stuff.  
 
I'm frankly surprised they didn't go with Djawadi. This whole thing started when Bezos said "bring me my Game of Thrones!" after all.
 
 
This. This. This. With the exception of Williams & Star Wars, I can't think of a film that owes more to the score than Lord of the Rings. 

No disrespect to Mr McCreary, but after hearing those pieces, I sense quite a few people watching this series are about to realize just how important Shore's music was to the success of the films.

It's very subtle, but it's there..

Yes! I noticed that too a while ago, but I couldn't find anything about it online.. it doesn't seem to be as noticeable on the original OST.
 
Either way, good to know I'm not going insane. 

The JP3 FYC is indeed a nice stop-gap but yes, we ideally need a set presenting film takes, especially of the Pterandon cage sequence and the end credits. The sped-up JP theme is amongst the worst decisions made by JW & co.
 
Plus the sound on the OST and the FYC could do with improvement.

Couldn’t resist

Sooo are they gonna release expanded versions of the Hobbit scores to coincide with this? That's all I care about, honestly.. 

Sooo are they gonna release expanded versions of the Hobbit scores to coincide with this? That's all I care about, honestly.. 

Sooo are they gonna release expanded versions of the Hobbit scores to coincide with this? That's all I care about, honestly.. 

I'd wager there's a better chance of John Williams hand-delivering the complete recording sessions of the Indiana Jones series to your front door  

Sooo are they gonna release expanded versions of the Hobbit scores to coincide with this? That's all I care about, honestly.. 

Sooo are they gonna release expanded versions of the Hobbit scores to coincide with this? That's all I care about, honestly.. 

I definitely want JP3! Hopefully it's in the pipeline, along with a reissue of TLW . Would be nice to get the first three scores with matching artwork

This argument "not everyone has to sound like John Williams" implies in a way, that John Williams always sounds the same. But he doesn't in my opinion. He created a specific Star Wars sound. And that are not just his famous themes.
 
Problem is rather that other composers often only have always one same sound when it comes to orchestral adventure music. And if they get a Star Wars assignment, they use that one orchestral adventure sound that they know and they are capable of.
At least my impression.
 
But this story that gets implied b Holt in the interviews really sounds mean. She, excited to write a Star Wars score, then pushed by Chow and Kennedy to move her music away from the typical Star Wars sound, and then Ross brought in to add the typical Star Wars sound. 
Weird.

Don't feel sad for Holt, though. She has just been Emmy nominated for her Loki score.