DrTenma

The 2016 box set was only in print for 18 months before it completely sold out.
 
There are lots of fans of John Williams' music on this planet who do not own it and would love to own a legal complete edition of this score.
 
This 2022 edition is not being marketed as an essential new expansion for everyone who bought the original to please upgrade. It's being marketed as a reissue.

Nobody is forcing anybody to buy it and nobody is taking the old editions away from you.
 
 
In my opinion every John Williams title LLL ever released that later sold out should be reissued, either by them or another label, so fans of the maestro will always be able to legally buy all his music.

I’m not at home so I don’t have the information directly in front of me for time codes but based on what I have I can give some guidance.
 
-“[3m2A] Entrance to the Park” the end of this cue on the 2013 release has a ‘clean’ (no chair creek) ending. I don’t mind because it’s what they used for the film edit ending of the cue “[10m3] Eggs in the Forest”
 
-“[9m3-10mA] A Tree for my Bed” this has a slightly different performance in the opening and the ending if I recall
 
-“[10m2] My Friend the Brachiosaurus” has an alternate take near the middle part when the tempo perks up. The ending especially is performed faster.
 
-“[11m2] Preparing to Meet the Monster” I don’t quite recall the difference but I THINK it’s the cue up until the percussive chase moment.
 
-“[11m3-12m1] High Wire Stunts” this has some slight performance differences but the biggest to ear is the final carnivore motif at the end being faster. Possibly because the next cue technically would come in VERY soon after and the album version is more relaxed and doesn’t quite get out of the way in time when synced to the scene.
 
-“[14m2] End Credits (part 1)” If I recall the big difference was in the horn to piano pass off where they aren’t quite in step with eachother.
 
-“[14m2] End Credits (part 2)” again I think the big difference were some edit points and the final part with the carnivore motif (the quieter moments)
 
I can get more specifics later but these are the major changes on the 2013 set
 
I’m really excited for this set! It perfects and finalizes this for me and I can’t wait to explore it again!

I think Ramiro substituted an alternate take for the very end of Journey to the Island, to remove the infamous creaking chair.

For what it's worth, Screen Archives had the cheapest international shipping for me at $16 (compared to $17.25 at La-La Land and $20 at Intrada).

Well, that's just it: why are you only going off of what was included on the album, and not all the other music he wrote for the show? There is plenty of stuff he did for the show that didn't make it on the album, and there was a good amount of it that either didn't feature the Obi-Wan theme, or only minimally featured it.
 
I mean, can you explain why Ross' music for Obi-Wan/Vader's first encounter/duel in a decade (so, a very important moment) isn't included on the soundtrack album, but an unused cue by Natalie Holt ("Ready to Go"), is? Maybe, just maybe, Holt/Disney/the people involved in producing the soundtrack, didn't want listeners to realize that both Obi-Wan/Vader duels were scored by Ross? Because that would be kind of a bad look for the main credited composer...
 
 
He's on the cover for "adapting" a single theme. Not for writing a sizable chunk of the show's score, which is what he appears to have done.

I'm curious what you all think... the first sample is part of the original track, unaltered. For the second track I remixed the channels a bit and added some reverb (a bit too much in hindsight, but you get the idea). Which one sounds more "natural"?
 
1_Original.mp3
2_Remixed.mp3
 

YouTube lists Williams as the sole composer of End Credits, unlike the 6 other William Ross tracks (where the credit is shared). 
 
I think we can infer Williams wrote the alternate intro and outro used for the end credits. 

As I understand it, Giacchino used a lot of Williams stuff initially. Basically reusing large portions of music from the original films, without really changing anything. Meaning the score would've consisted mostly of Williams material. He'd have to be credited as the main composer. Williams wasn't happy, so he requested them to use less of his music in such an overt manner. Resulting in Giacchino having to rewrite most of it last minute.
 
But I don't know more than anyone else, I just read all the comments about it in the RO thread here a while ago. Whole situation seemed like a giant mess, that's for sure..

Trying to get this straight.
 
Deborah Chow told Holt to compose as though they're not allowed to use JW themes, because they are looking into it.
 
JW is brought in to compose Obi Theme, and William Ross is given the okay to use themes, but only in the last episode.
 
Doug Adams implies yesterday on Twitter that withholding his themes in the Obi Score is consistent with JW being unhappy with Giacchino using his themes on Rogue One, which was then quickly rescored.
 
Doug also implies that that's why Williams took greater interest in Solo, after not being asked to score Rogue One himself.
 
James Southall tweets that the above is false, that John Williams indeed does NOT get possessive about how and where his themes are used in LFL projects.
 

 
 

Maybe because it's temporarily out of stock?

Just received an email from Hal Leonard. The suite is scheduled to be released mid July. It wouldn’t be surprising if JW performed something from it at the Hollywood Bowl.

It’s four movements:
 
I. Psalm of the Sith
II. The Rise of Skywalker
III. Rey and Ben
IV. The Speeder Chase
 

The first movement is Psalm of the Sith, which uses that theme, as well as Kylo Ren’s theme.

Many people writes Harry Potter references to comment section. I specifically don't hear anything from HP in there. It's just interesting that all the orchestral music sounds like Williams to the young generation.
 
 

IGN spends more time sucking Disney off than they actually do covering video games. Pay them no mind.

Breaking news: Fans of John Williams surprised and angered that music not by John Williams is not as good as music by John Williams
 
Holt's music is nice. I like the Alderaan stuff a lot, and Leia's new theme has shades of Powell in it, particularly the longer melodic line work. Much better than a lot of her contemporaries who keep their themes in strict four-bar phrases. I look forward to hearing her work in isolation.

Mine finally came in today! I was pleasantly surprised since it had been two weeks with no tracking updates. I’m giving it a full listen now. The first thing I noticed was how low the volume was and I had to crank it up for this album. I listened to side 1 earlier and noticed a lot of surface noise so I stopped and gave them a good clean and now it is sounding much better. 

Hi ConorPower,
 
just some thoughts on your words.
I would not consider Irina a femme fatale, since it is not her aim at all to be attractive to men.
She is just a villain, by the way the first villain in an Indy movie getting its own theme. She is cool showing almost no emotion. That is reflected in her theme.
 
the Grail and the Ark themes have references religious movies from the fifties like The Ten Commandments, The Rope, King of Kings etc. The Crystal Scull motiv has its root in 1940s/50s science fiction movies like "The Day the Earth Stood still" or "This Island Earth". So, of course its tone is musically different. And it is related to the subject of the movie.
I would completely subscribe that.
 

According to the GEMA Repertoire, music in film not on the OST totals 7:07:
 
Jinx Connection 0:20
Jinx Makes His Move 1:46
Arriving at Daedalus 0:43
More Morse Code 1:08
Can't Reach It 1:38
Rudy Comes Through 1:32
 
I don’t think I’ve ever been so excited for a 43-second cue, though! It certainly feels a lot more substantial than that.
 

Not looking good, based on @Yavar Moradi’s 8-minute figure.

5 more minutes. Really? *sigh*
For me it would be the third time as well to buy this score. The LP, the CD and now the 5-minute-expansion.
But for all zu those, who don't know this score yet, big recommendation.
 

Fixed.

There's still Lorne Balfe.

Imagine what a better composer could have delivered.

It has arrived!
 
https://lalalandrecords.com/schindlers-list-25th-anniversary-soundtrack-limited-edition-2-cd-set/

Jar Jar calls him Obi in Episode 2.

Here's hoping the (one of the?) OST albums has the suite included