Hedji

Only saw the film and listened to the score once, but it's the first time in a long time Zimmer has impressed. The first few tracks are really standout, and joyful. Until these particular orchestrations, I never realized how much the syncopated rhythms of WW's motif remind me of 1980s Goldsmith action music, which of course is totally appropriate for this film. Are the End Credits a fresh suite or just a reprise of previous cues?

Wow, some of you are never satisfied. Jesus, Boba Goddam Fett came back in Slave I, smashed Stormtroopers with a Gaffi stick, and finally used his knee darts. I was pissing myself and shouting with glee at my tv.

Always would've liked the lucasfilm logo tracked with the short transition from TPM during the Coruscant taxi segue. They used it for the Behind the Magic CD-Rom, and evidently the X-Wing Alliance game It works better without the annoying animation and sound effects.

Placed my order yesterday. Yippee!

I really like the When You Wish Upon a Star End Credits in CE3K. It works much better than the editing job on the OST. Soooo satisfying. For those of you old enough to remember the mid 90s, when the expansions first started hitting, it is almost indescribable. Hearing Disc IV on the Star Wars Anthology Box Set, and the expanded Return of the Jedi was sublime. I remember getting the DCC Raiders Disc for Christmas. All. Those. Cues. The opening titles. The Raven Bar. The full Desert Chase. I'd say my favorite was Airplane Fight. I think I cried when I

I often have similar sensibilities as KM, but this time, no. There is quite a bit of material that doesn't accelerate, or get you from point A to B. The action music noisy, the comedy music over the top. So, it can't quite be top tier because it really seems to lack focus. Which is a dang shame, because the end credits prove all the ingredients are there; they just don't come together well. Irina's theme is criminally underused. The Russian music from the End Credits is unique to the End Credits. Dovchenko could've been more obviously "leitmotifed" with it. The ar

This poll is great, because I think no matter what your personal preference, look at that list... not a disappointment in the bunch. The '10s are without question stronger, more engaging Williams than the '00s. I can't quite find the words to articulate it, but his scores seem more purposeful and focused than the decade before. Not that the '00s were "bad", but I'm finding myself more satisfied and not wishing they were something other than they are. Star Wars or not, Rise of Skywalker moved me to tears. Did you guys know War Horse seems to be out of print? When I

I am cautiously excited to have Bo Katan and Ahsoka being introduced. It's a solid storyline, but first season really established the show as "its own thing", with a heavy emphasis on Space Spaghetti Western. I do NOT want to see it just morph into an extension of the animated storylines.

I almost posted this one too. It has historic value as being the first title to restart the Varese Club Editions after their initial hiatus. If Mike Matessino decided to give this a modern audio polish after two decades of sonic technology improvements, I'd buy it in a heartbeep.

Dracula 1979 deserves a mention. The physical presentation alone with the beautiful slipcover made it... an event.

I love this piece. So pretty.

Sorry, I was trying to be mildly sarcastic. What a first post! At least we got some fine example clips in this thread. Is it wrong that while watching E.T. with my daughter the other night, I thought the CG bicycle effects would've improved it for a modern audience?

Welcome to the forum!

You're not wrong, of course. There are other factors in my compartmentalization and completism for JW film scores... I stupidly never bought the Land of the Giants in any form, so I'm missing out on better music, just because it's not a film score.

Same. I don't even like it that much, but it's the only major film score I'm missing, which makes it infuriating in an OCD way. Secondary market prices seem abnormally high for a score that barely ever gets mentioned, and is an adaptation of Leslie Bricuisse, and not pure Williams.