CGCJ

These consisted of almost 50 files that needed to be meticulously stitched together. There's about 7 minutes of additional music that Gordy wrote.
 
 

Lets hope for a game rip soon then, and the lenghty offical release means most will be in good quality afterall.
 
But it is a shame because in these games action cues usually are composed to loop and a curated offical release track would have the opening and ending from the composers preference…

@ThePenitentMan1 is right and @Doo_liss is wrong.
 
12M2 End Credits was written as one long cue, but they recorded it as two separate cues.  Even before the cue list & take numbers showed up in the 1997 2-CD set's booklet, that should have been obvious, but with that info, it's crystal clear:
 
 

 
 
Basically 12M2 End Credits is a single 159 bar composition (well, there's also an alternate ending written as bars 160-161 that I'm sure @enderdrag64 will cover next week).  Bars 1-51 cover the throne room scene and bars 52-end cover the end credits roll.
 
They decided to record bars 1-51 as one cue, and bars 52-end as another cue.  For all intents and purposes they are two different cues, what happens on the recording stage and gets noted down in the official cue lists always supersedes whatever titles and cue numbers are on the original sheet music.
 
After those 2 cues were recorded, someone felt the opening of the end credits needed to be modified, so a new cue numbered 12M2X was written.  This is a 21 bar cue, comprised of 9 new bars (new bars 52-60) and 12 original bars (original bars 61-72).  This is because its easier to edit back to the original recording at that point.
 
For the film itself, the 1977 soundtrack album, and the 1993 4-CD Arista set, they replaced the original end credit's opening with 12M2X.  When assembling the 1997 set there was a opportunity to maybe release the originally recorded end credit opening somewhere on it, but in the end they did not.  I believe because Mike or someone else decided it wasn't different enough to warrant including the end credits twice?  Not sure.  I do remembering reading in an interview somewhere that Mike regretted not including the combo-edit of the Main Titles into the End Titles on that set, though - if he had done that and included the original end credits opening, the end credits could have had to have been on that set 3 times!
 
So anyway, the originally recorded opening remains unreleased to this day, and never turned up in a radio drama or video game.  But various people have made mockups of it based on the sheet music and shared it online.  I'm guessing there will be a mockup of it in next week's post?

#1.38 SW (1977) - 12m2 End Titles (Wook link)
 

#1.37 SW (1977) - 12m1 The Last Battle (Wook link)
 

I think we are at least one step closer to getting our Spider-Man 2 expanded 
soundtrack CD’s.

Just finished going through the documentary to identify my own playlist of music heard. Most of it is John Williams with only a handful of exceptions.

   

https://docs.google.com/spreadsheets/d/1TD7zbB5XlUxZFnjz3KIgr_-jnj-MGj4-mN7DYO6XcOE/edit?usp=drivesdk

It's actually one of my biggest problems (when it comes to the soundtrack) I have with the special edition (or any version that includes the "A New Hope" subtitle) of Star Wars; that the whole opening is out of sync with both the crawl's paragraphs and the build-up to, and including, the reveal of Tatooine. 
It feels so off, and makes the opening of the film feel so much weaker and less impactful than the original theatrical version.

I have just one response to that...
 
 

I'm going to be disappointed if this doesn't mean that they recreated Ian Fraser's "cirque" music from the Holiday Special and are going to put in on the OST.
 
Jon Watts & Chris Ford Discuss the Upcoming 'Star Wars: Skeleton Crew' & a Suprising Nod to 'The Star Wars Holiday Special'

The way I see it FYCs are just bonuses that we're fortunate to have access to, we're lucky that WB and Amazon are still even providing proper cues rather than OSTs like Disney 

I'll do my best!
 
One way to compare the mix would be to locate sections where the music is basically identical in both TFA and TLJ. For example, the end credits suite:
 
TFA Finale
TFA End Credits Excerpt.mp3  
TLJ Finale
TLJ End Credits Excerpt.mp3  
 
And here's a quotation of the Resistance theme which is very similar, if not identical, between both scores:
 
TFA March of the Resistance
TFA March of the Resistance Excerpt.mp3  
TLJ The Battle of Crait
TLJ The Battle of Crait Excerpt.mp3  
 
Additionally, you can try to compare bits of music which aren't exactly the same but feature similar orchestration in order to observe the difference in the mix. For example:
 
TFA Scherzo for X-Wings
TFA Scherzo for X-Wings Excerpt.mp3  
TLJ The Fathiers
TLJ The Fathiers Excerpt.mp3  
 
And also:
 
TFA I Can Fly Anything
TFA I Can Fly Anything Excerpt.mp3  
TLJ Escape
TLJ Escape Excerpt.mp3  
 
I hope you find these examples useful. In general, TFA score is drier and somewhat harder/harsher in tone, especially the upper frequencies of the brass when they are playing strongly (hence most of my excerpts are from loud, action-based sequences). I would describe the sound of TLJ score as more rounded and warmer in tone, and the instruments blend that little bit better in the mix.
 
 

🔴 NEW EPISODE! 🎙️
LEGACY CONVERSATIONS: LAURENT BOUZEREAU
The Legacy of John Williams presents an exclusive interview with Laurent Bouzereau, the director of “Music By John Williams,” the documentary film dedicated to the life and career of John Williams, now available for streaming on Disney+.
Laurent sits down for an in-depth talk about the honour and the responsibility of creating the first documentary film on John Williams, his lifelong love for the Maestro's music, the challenges he faced throughout the production and why he made the film thinking about future generations. Joining the conversation is archival soundtrack producer Mike Matessino, who worked as Music Consultant on the documentary.
🎧 LISTEN 👉🏻 https://tinyurl.com/zsm84npp
 
https://www.facebook.com/thelegacyofjohnwilliams/posts/pfbid02H9W2tnVtrH4kPXBAWJc56Sucbyd19zfe6Wyk4rfwZKzNy2erkvGNxPe4pUE22yXHl
 
https://thelegacyofjohnwilliams.com/2024/11/18/laurent-bouzereau-podcast/

https://thelegacyofjohnwilliams.com/2024/11/18/laurent-bouzereau-podcast/   There's also a review of sorts in the article at the link above.  

#1.36 SW (1977) - 11m2R Approaching the Target (Wook link)
 

Cue by Cue: The Music of John Williams - #1.33.5 10m1 Ben's Death Addendum:

Cue by Cue: The Music of John Williams - #1.34.5 10m2 Here They Come Addendum:
 
Cue by Cue: The Music of John Williams - #1.35 11m1 Stand By (Wook link)
 

Apologies for the late post this week 
 
#1.34 SW (1977) - 10m2 Here They Come (Wook link)
 

RITY regularly posts clips of interviews that they have available for licensing and this was posted yesterday.  Dunno where it originated but maybe some of you do.  Thought you might find it interesting.
Has a date of 1990-02-15

#1.33 SW (1977) - 10m1 Ben's Death (Wook link)
 

The Kiner Music site has been updated with a page for this including a few cues:
 
The Path of Fear
M05 The Mountain Clan
M11 End Credits
 
The Path of Hate
Fires Continue Burning
 
Devoted
New Master
Barriss Offee End Credits
 
Realization
The Massacre
Barriss Changed Her Mind
 
The Way Out
Inside the Cave
The Way Out
 
I've updated my spreadsheet to include these. All of these are on the OST but they're the individual cues so help to figure out the breakdown of some of the tracks.

Here's my spreadsheet on the score if any one wants a breakdown of the soundtrack release: https://docs.google.com/spreadsheets/d/11f44kZXA864sWJcZU09RCMa2LGv01GQnoO4DhYMi0IU/htmlview
 
Looks like Jason Fujita is now writing on the scores, being credited for Seek the Healer. He was previously credited as 'Music Assistant' on Ahsoka & The Bad Batch series 3.
 
Also, Ludwig Göransson is credited for Back to Corvus so presumably it references his score from The Mandalorian episode The Jedi.

Here's my spreadsheet on the score if any one wants a breakdown of the soundtrack release: https://docs.google.com/spreadsheets/d/1qOTSAim1nPrYbJxYvHNoVLi_vKAXBv_Sc5oyGfKg3UM/htmlview

#1.32 SW (1977) - 9m3 The Swashbucklers (Wook link)
 

I'm pretty anti-waveform-compression so I see that as a positive