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Urge him not to. Rian Johnson's fanboy love for Williams was endearing, but I think it inadvertently led to a less creatively fertile score than we might have gotten without the Williams temp track.

Update: now that Disney has an upcharged replacement for FastPass, I guess they don't care as much about total immersion in Galaxy's Edge as they did before. Now the attraction doesn't have a proper sign, but the Lightning Lane™ for it does. So can we get some Williams music in there now?

Do all these successfully delivered replacement discs mean it'll be back in stock at Intrada soon?

Amen! Just about everything I know about Mass parts in Latin I originally learned from this soundtrack, squinting to make out tiny black italic text on that absurdly reddish-brown cassette insert!

The Film Symphony Orchestra just debuted their performance of AoH, and it rocks! Give it a look and fall in love with this piece all over again! These guys should do a Blu-Ray…

I’ve visited in person, and Tom is dead-on. The lack of orchestral music in the Star Wars idiom is a glaring flaw in the land’s otherwise excellent design, one that has been commented on by several theme park blogs in reviewing the land as a whole. It’s eerily quiet in most of the land in a way that glaringly fails to remind you of scenes from the films, which nearly always have a Western orchestra playing neo-Romantic music under them. It’s inexplicable that Disney would voluntarily forget the playbook they’ve been using for 65 years to create immersive environments and arbitrarily tie one hand behind their backs in terms of sensory immersion in the theme. Literally every other land they’ve ever created uses music as part of the immersion. This one arrogantly attempts to reinvent the wheel and kneecaps itself in the process. I am not calm either. 😎

The German version of "Top of the World" ("Uber der Weldt"? Something like that...) also blows the updated one out of the water. Cutting back on the silliness of the gargoyles in the new show meant this song had to change, but the "A Guy Like You"-esque counterpoint vocals in the original are fantastic (better than "A Guy Like You," in fact). And unlike most of these spectacular 1999 songs, you can actually hear this one in English, thanks to this fantastic YouTube cover from a few years back. There's a sort of "B theme" to Esmerelda's part of the song ("When my outlook is a glum one...") that just oozes peak Menken, and it's totally gone in the 2017 version. Plus the back and forth between the gargoyles and Quasimodo in the finale of the song is heartwarming and ingenious. The same account also did "Out of Love (Reprise)," which is also excellent, and sadly they stopped there. An English version of "Balancing Act" is still on my "Things to Finance When I'm a Billionaire" list. Incidentally, while we're pooping on the 2017 downgrades to the musical—truly a carousel of unforced errors—you should also check out the original version of "Esmerelda," the Act I closer, which was equally maimed in the updated show. The original can be seen in English on YouTube in a weird, iffily acted but incredibly well-funded and absurdly talented Florida high school production that remains, I think, the only publicly staged English performance of the 1999 show. Unlike the bloated, aimlessly operatic 2017 version, nearly every melody that's sung in this brilliant pseudo-"One Day More" is drawn from somewhere else in the score, and it ties together Quasi, Phoebus, Frollo, and Esmerelda in an absolutely mesmerizing piece of musical theatre that mostly comes through even when performed by teenage amateurs. (One key line of Phoebus's from the German version is randomly transferred to Frollo here...see if you can guess which it is!) Naturally, that production's performance of "Balancing Act," if it ever existed, is not preserved on the YouTube playlist. *sigh* As you can see, Comparative Hunchback Studies is my long-lost college major. But it's a heck of a field!

Did no one at any of the concerts record OttO? (This is the new nickname for "Overture to the Oscars," and it is not negotiable.) Come on, people! This is the only Williams piece performed fewer times than "The Rise of Skywalker." We need all the video we can get to pore over and compare!

Just listened to it again on @Tom's post. What a fantastic piece. Sheesh. Write stuff forever.

Haha, it'll be a nice pick-me-up after the main title from The Secret Ways.

Looks like we found track 1 for Lockhart's Lights! Camera! 2sic!

I swear, "Throne Room" arrangements are my Everest when it comes to all things Williams, and I'm confused again. This seemed like a version that went through all the concert paces—e.g., the moment when everyone stops and we get a misterioso solo oboe version of the Force theme—before going into the End Title. That certainly doesn't happen in the film version, and the Special Edition soundtrack has been my go-to version of this cue forever. Is there a released version somewhere that corresponds exactly to the version they played on this broadcast? Now that I think about it, maybe Lucas can go back in and add a shot of Chewie pining for a medal, and Williams can score it with that oboe line...

I love it! The main theme strikes me as one of the longest-lined melodies in any Williams overture. It just goes and goes and goes. The theme would certainly be catchier if it were shorter, but if you ask me, that's one of the characteristics that marks it as a more "mature" entry in his oeuvre: it's more concerned with doing musically interesting things than with giving us an earworm to latch onto—although thankfully, it's not fixated on virtuosity like many of his brass pieces. The full orchestra is on display here. The textures are fantastic, really evoking an idealized vision of Hollywood. (This would have been a perfect piece for the entrance plaza loop at the Disney-MGM Studios back in the late '80s/early '90s.) Overall, I wouldn't class this with the very best of his Olympic music and other fanfares, but it's up there, especially among his recent concert works. What a joy to have this land in our laps!

If you only knew how often this exact reference gets made in my family on a myriad of topics. Frasier will never be topped. Not that anything is more important than acknowledging a Frasier reference, but... 1.) Overture to the Oscars is great! It doesn't reach the commanding heights of catchiness of much of his previous pops concert music, but it just brims with movie magic and glitz. I love the sound of the opening! 2.) Can any old peon listen to the Sunday broadcast online, or is this geographically limited?

I'm loving this discussion and learning a lot, but what are "Basketball" and "Olympic Soccer"? My YouTube searches are coming up empty.