lairdo

I think Mike's statement, particularly in context of the type of music and the span of decades, is fine and accurate when viewed through both a film and musical lens.
 
You need three components which makes the likelihood difficult for this type of event to happen:
1. A composer with the talent and interest to work that long in the same universe. 
2. A universe or world rich enough to sustain this high level of interest and to not want to change artisans as part of the development.
3. The cultural demand for the work and the continued positive reception of it (even with detractors and weaker entrants such as the story and movie of Attack of the Clones).
 
In the case of Lord of the Rings, personally, I did not feel the Hobbit reached the grandeur of Lord of the Rings both from the films and the music. I love listening to the LOTR, but I rarely return to the Hobbit. Partly this is due to the second trilogy going on too long, and partly I think the characters did not inspire Shore the same way. I also felt that the rift over the rejected King Kong score harmed the Jackson-Shore relationship, even if supposedly mended over.
 
We've had 8 Harry Potter films, within a shorter timespan than Star Wars by more than a factor of 2. Yet, Williams only did the first 3, and while Hooper used a lot of themes from Williams, others, particularly Desplat, did very different scores. Would I have loved all 8 by JW - of course! But while the world wanted many HP films, JW and/or the producers/directors wanted changes and different directions.
 
Similarly, Star Trek has had 13 films in about 40 years. Wise and Roddenberry both wanted Jerry Goldsmith for ST TMP. Then he was not affordable when Star Trek II and III were made for the budgets Paramount set. That gave a young James Horner a chance, and it really helped launch his career. I think JG was unavailable for STIV, so Nimoy had to chose someone else. After the disappointment of ST V (despite one of JGs best scores), budgets again forced a different choice in composers. I don't recall why JG was not in for Generations (whether it was creative, a promise to Dennis McCarthy or budget). And of course, we lost Jerry after Nemesis. I am not sure Abrams would have hired him anyway for the Kelvin timeline films given his relationship with Giacchino. (Note, I am doing this from memory, so apologies if I have the facts slightly off on why JG was in and out of the franchise.)
 
I think the point still stands - here are three other huge, culturally relevant, successful franchises where we could have had a similar output from one composer - but it didn't happen the same way.
 
Even in the classical world, Beethoven's 9 symphonies could not be considered a cohesive set - they are not meant to be sequels at all. Mahler's completed 9 probably are a better comparison because he used parts of his earlier songs in many of them, and they better interrelate. Still, I am sure both of those composers would not want one to think they had to listen to a previous entry in their output to understand the next. Williams definitely wants the IX to sit together and it is right for the work and franchise to think of them as that. Even Wagner's Ring Cycle, with 16+ hours over 4 massive music dramas changes a lot from the second half of Siegfried (3rd opera) forward as Wagner's philosophy changed. I think this is the closest musical phenomenon to Star Wars and Williams.
 
 

I think Mike's statement, particularly in context of the type of music and the span of decades, is fine and accurate when viewed through both a film and musical lens.
 
You need three components which makes the likelihood difficult for this type of event to happen:
1. A composer with the talent and interest to work that long in the same universe. 
2. A universe or world rich enough to sustain this high level of interest and to not want to change artisans as part of the development.
3. The cultural demand for the work and the continued positive reception of it (even with detractors and weaker entrants such as the story and movie of Attack of the Clones).
 
In the case of Lord of the Rings, personally, I did not feel the Hobbit reached the grandeur of Lord of the Rings both from the films and the music. I love listening to the LOTR, but I rarely return to the Hobbit. Partly this is due to the second trilogy going on too long, and partly I think the characters did not inspire Shore the same way. I also felt that the rift over the rejected King Kong score harmed the Jackson-Shore relationship, even if supposedly mended over.
 
We've had 8 Harry Potter films, within a shorter timespan than Star Wars by more than a factor of 2. Yet, Williams only did the first 3, and while Hooper used a lot of themes from Williams, others, particularly Desplat, did very different scores. Would I have loved all 8 by JW - of course! But while the world wanted many HP films, JW and/or the producers/directors wanted changes and different directions.
 
Similarly, Star Trek has had 13 films in about 40 years. Wise and Roddenberry both wanted Jerry Goldsmith for ST TMP. Then he was not affordable when Star Trek II and III were made for the budgets Paramount set. That gave a young James Horner a chance, and it really helped launch his career. I think JG was unavailable for STIV, so Nimoy had to chose someone else. After the disappointment of ST V (despite one of JGs best scores), budgets again forced a different choice in composers. I don't recall why JG was not in for Generations (whether it was creative, a promise to Dennis McCarthy or budget). And of course, we lost Jerry after Nemesis. I am not sure Abrams would have hired him anyway for the Kelvin timeline films given his relationship with Giacchino. (Note, I am doing this from memory, so apologies if I have the facts slightly off on why JG was in and out of the franchise.)
 
I think the point still stands - here are three other huge, culturally relevant, successful franchises where we could have had a similar output from one composer - but it didn't happen the same way.
 
Even in the classical world, Beethoven's 9 symphonies could not be considered a cohesive set - they are not meant to be sequels at all. Mahler's completed 9 probably are a better comparison because he used parts of his earlier songs in many of them, and they better interrelate. Still, I am sure both of those composers would not want one to think they had to listen to a previous entry in their output to understand the next. Williams definitely wants the IX to sit together and it is right for the work and franchise to think of them as that. Even Wagner's Ring Cycle, with 16+ hours over 4 massive music dramas changes a lot from the second half of Siegfried (3rd opera) forward as Wagner's philosophy changed. I think this is the closest musical phenomenon to Star Wars and Williams.
 
 

Thanks for a great article. Really good and interesting ideas in here. I too had not thought about the Kylo character in relation to his themes in that manner. 
 
Great read. Thanks for writing and sharing, Frank.

That was my sense too and for the same reason.

Nice, I will.
 
For now, I’ve programmed Anthem of Evil and The Rise of Skywalker in the middle of @Jay’s chronological playlist—after Destiny of a Jedi and before Battle of the Resistance. That way they serve as a sort of Intermission/Entr’act, like the concert suites in the ‘97 special edition releases. It’s a similar effect, with RoS fading out and then then the blast of Battle of the Resistance. And I like the narrative effect, with BotR serving as an act 2 (or disc 2) opener.
 
if you like that sort of thing, I also have The Rebellion is Reborn in between The Sacred Jedi Texts and right before Rey’s Journey in my TLJ playlist, and for TFA, Rey’s Theme and MotR after The Abduction and before Han and Leia.

My wife and I saw the 5 pm fan showing. (We got a pin!)
 
We both liked it a lot. I agree with many of the comments above but still liked it. We are seeing it again Sunday with my sister and her family.
 
Dark side notes:
Felt the opening third was choppy (a good word from previous comments). I wanted a more traditional longer sequence/scene to grab me 
Music felt too low in our theater for the first half. (see light side below)
Tracked music jumped out at me, but I did not mind it - I just was surprised at the choice to edit in something that could have been recorded again so the sound matched. But I suspect this was a late change.
Agreed the editing of battle and JW's music could have been better.
As usual, lots of misdirection from JJ in the trailer that had different or opposite impacts in the final film
The shot of Wedge felt shoehorned in.
 
Light side notes:
The second half of the music mix was great (editing not withstanding). It worked really well, and even the previous film themes felt generally right to me - particularly Yoda & The Force.
Sound effects and mix were super enjoyable particularly the past Jedi stuff and around the Emperor.
Satisfying ending for the sequel trilogy in terms of story and score. 
I was very happy with the playing of the choir and musicians. Sounds great on the big screen.
 
Bonus
I saw that JW had a screen credit as Oma Tres, and now that I know he is seen on Kijimi, I realize I spotted him and had a moment of - wait, who is that? But only after seeing the credits did I realize he was in there. How much do I want an action figure of Oma Tres?  
 
Bonus x2
When do we get the JW action figure!!!!?
 
Overall, I am very happy with the score and movie. Both have flaws, but not in the same ways or in as bad ways as TLJ or AotC. (Although I like the music for both.)
 
 

My wife and I saw the 5 pm fan showing. (We got a pin!)
 
We both liked it a lot. I agree with many of the comments above but still liked it. We are seeing it again Sunday with my sister and her family.
 
Dark side notes:
Felt the opening third was choppy (a good word from previous comments). I wanted a more traditional longer sequence/scene to grab me 
Music felt too low in our theater for the first half. (see light side below)
Tracked music jumped out at me, but I did not mind it - I just was surprised at the choice to edit in something that could have been recorded again so the sound matched. But I suspect this was a late change.
Agreed the editing of battle and JW's music could have been better.
As usual, lots of misdirection from JJ in the trailer that had different or opposite impacts in the final film
The shot of Wedge felt shoehorned in.
 
Light side notes:
The second half of the music mix was great (editing not withstanding). It worked really well, and even the previous film themes felt generally right to me - particularly Yoda & The Force.
Sound effects and mix were super enjoyable particularly the past Jedi stuff and around the Emperor.
Satisfying ending for the sequel trilogy in terms of story and score. 
I was very happy with the playing of the choir and musicians. Sounds great on the big screen.
 
Bonus
I saw that JW had a screen credit as Oma Tres, and now that I know he is seen on Kijimi, I realize I spotted him and had a moment of - wait, who is that? But only after seeing the credits did I realize he was in there. How much do I want an action figure of Oma Tres?  
 
Bonus x2
When do we get the JW action figure!!!!?
 
Overall, I am very happy with the score and movie. Both have flaws, but not in the same ways or in as bad ways as TLJ or AotC. (Although I like the music for both.)
 
 

My wife and I saw the 5 pm fan showing. (We got a pin!)
 
We both liked it a lot. I agree with many of the comments above but still liked it. We are seeing it again Sunday with my sister and her family.
 
Dark side notes:
Felt the opening third was choppy (a good word from previous comments). I wanted a more traditional longer sequence/scene to grab me 
Music felt too low in our theater for the first half. (see light side below)
Tracked music jumped out at me, but I did not mind it - I just was surprised at the choice to edit in something that could have been recorded again so the sound matched. But I suspect this was a late change.
Agreed the editing of battle and JW's music could have been better.
As usual, lots of misdirection from JJ in the trailer that had different or opposite impacts in the final film
The shot of Wedge felt shoehorned in.
 
Light side notes:
The second half of the music mix was great (editing not withstanding). It worked really well, and even the previous film themes felt generally right to me - particularly Yoda & The Force.
Sound effects and mix were super enjoyable particularly the past Jedi stuff and around the Emperor.
Satisfying ending for the sequel trilogy in terms of story and score. 
I was very happy with the playing of the choir and musicians. Sounds great on the big screen.
 
Bonus
I saw that JW had a screen credit as Oma Tres, and now that I know he is seen on Kijimi, I realize I spotted him and had a moment of - wait, who is that? But only after seeing the credits did I realize he was in there. How much do I want an action figure of Oma Tres?  
 
Bonus x2
When do we get the JW action figure!!!!?
 
Overall, I am very happy with the score and movie. Both have flaws, but not in the same ways or in as bad ways as TLJ or AotC. (Although I like the music for both.)
 
 

My wife and I saw the 5 pm fan showing. (We got a pin!)
 
We both liked it a lot. I agree with many of the comments above but still liked it. We are seeing it again Sunday with my sister and her family.
 
Dark side notes:
Felt the opening third was choppy (a good word from previous comments). I wanted a more traditional longer sequence/scene to grab me 
Music felt too low in our theater for the first half. (see light side below)
Tracked music jumped out at me, but I did not mind it - I just was surprised at the choice to edit in something that could have been recorded again so the sound matched. But I suspect this was a late change.
Agreed the editing of battle and JW's music could have been better.
As usual, lots of misdirection from JJ in the trailer that had different or opposite impacts in the final film
The shot of Wedge felt shoehorned in.
 
Light side notes:
The second half of the music mix was great (editing not withstanding). It worked really well, and even the previous film themes felt generally right to me - particularly Yoda & The Force.
Sound effects and mix were super enjoyable particularly the past Jedi stuff and around the Emperor.
Satisfying ending for the sequel trilogy in terms of story and score. 
I was very happy with the playing of the choir and musicians. Sounds great on the big screen.
 
Bonus
I saw that JW had a screen credit as Oma Tres, and now that I know he is seen on Kijimi, I realize I spotted him and had a moment of - wait, who is that? But only after seeing the credits did I realize he was in there. How much do I want an action figure of Oma Tres?  
 
Bonus x2
When do we get the JW action figure!!!!?
 
Overall, I am very happy with the score and movie. Both have flaws, but not in the same ways or in as bad ways as TLJ or AotC. (Although I like the music for both.)
 
 

Cool. Still not on other sites, but at least it's here in 192/24. And at a reasonable price actually.
 

First off, thanks @Jay for the awesome edit-free playlist. As many are saying, hearing the score with more fleshed out is really amazing. While I have listened a few times and specifically played a number of tracks, I am not sure where I sit on the score. I like it a lot - but I think until I see the film later today, I cannot fully decide how much I love it. And even saying that, I am not sure why - maybe I just want more time? I happen to love TPM score, but only am so-so on the movie. So, it's not really about that I guess. Anyway, I think it's all too new so far. And in fact with the disaster box set arriving this week, I am jumping between Williams scores a ton.
 
One thing I did on my playlist and I offer it up to others to try or comment: I programed the concert suite Rise of Skywalker ahead of the main title. Sort of like an overture, although one that only introduces one theme as compared to more standard ones. I guess sort of like how Jerry Goldsmith opened Star Trek The Motion Picture with Ilia's theme played against a black screen. I like the way RoS ends and then a brief pause and bang, the main title. Anyway, give it a try.
 
I also wonder if how Williams will program this suite in relation to others and I am going to play with that a bit - if we had to take 3 suites from the 9 films, and RoS had to be one, which other two would form a nice three piece experience? I sort of suspect RoS would be the middle one. Anyway, I guess I should start a thread on this idea. (So I did: https://www.jwfan.com/forums/index.php?/topic/31055-star-wars-suites-in-concert-how-would-you-program-them/ )
 

Star Wars: The Rise of Skywalker - For Your Consideration (FYC) Album
 
01 Prologue (1:45)
02 Falcon Flight (2:22)
03 We Go Together (2:10)
04 In the Desert (2:26)
05 A Prisoner (1:23)
06 To Kimiji (1:37)
07 Fleeing from Kimiji (1:53)
08 Hallway Shooting (2:11)
09 Hard to Get Rid Of (2:19)
10 Join Me (2:21)
11 The Old Death Star (2:14)
12 Off the Waterfront (1:03)
13 Final Saber Duel (1:38)
14 Healing Wounds (2:49)
15 Advice (1:54)
16 Battle of the Resistance (1:54)
17 Approaching the Throne (4:16)
18 Parents (1:57)
19 Coming Together (1:44)
20 Seeing Sights (3:17)
21 Rescue (1:10)
22 Farewell (4:27)
23 A New Home (1:42)

TOTAL TIME - 50:32
 
 
F.A.Q.:
 
FYC? What's that stand for?

For Your Consideration.  Basically, Disney setup a website where eligible voters for the various awards that are given out around the end of the year could learn where they could attend a screening of their films, see which awards the films were pushing for, and listen to selections of the score for Best Score nominations.  For the films that had score selections, they are exactly what is heard in the film, and sometimes include music not on the commercial soundtrack albums!
 
So the music here is different than the album?

Yes!  Some tracks are almost the same, but the structure of the FYC program is fundamentally different; It is a selection of music from the movie exactly as it appears in the final cut of the film, even if the music used in the film was edited from Williams' original intentions.  This could mean that a track might contain an Insert Williams later wrote, where the OST presented his original version; or a track might contain less music than its OST counterpart of the scene was re-edited after the recording of the music, or even a track might contain some music artificially looped or stretched if a scene got lengthened after scoring.  The FYC always reflects these non-intended conforms to final picture from start to finish.
 
So does the FYC contain the complete score?

Certainly not.  The FYC is only 50 minutes long.
 
Which tracks contain music that is not on the OST album?
 
We won't know that until the OST album is available to hear.
 
Where can I find this FYC?
 
https://disneystudiosawards.com/star-wars-score.html
https://disneystudiosawards.com/star-wars-rise-of-skywalker/score
 
In case Disney later removes this page, it is archived permanently here:
 
https://web.archive.org/web/20191210202934/https://disneystudiosawards.com/star-wars-score.html
 
I don't see a download link there; How do I download the files from Disney's site?
 
 
 
 
In case Disney ever takes the files down, they are archived permanently here:
 
 
 
The files on Disney's site have really low bitrate of 192kbps; Is there any chance its available uncompressed somewhere?
 
Disney should be mailing out pressed physical CDs with the FYC program to Academy music department voters sometime soon.  Usually not long after that, they begin turning up on ebay, and not long after that, lossless rips appear online.  NOTE: It is against the board's rules to ask for a lossless rip in the public forum.  Use the PM System or go to other websites for that discussion!  Posts asking for illegal downloads will be deleted!
 
 
 
Alright, so what's on the FYC album that is not on the OST album?
 
01 Prologue (1:45)
[0:00-0:07] (0:07) = alternate mix of OST 02 Journey to Exegol [0:47-0:50] [0:07-0:26] (0:19) = OST 02 Journey to Exegol [1:02-1:20] [0:26-0:28] (0:02) = OST 02 Journey to Exegol [1:24-1:25] [0:28-0:36] (0:08) = OST 02 Journey to Exegol [1:31-1:40] [0:36-0:56] (0:20) = OST 02 Journey to Exegol [2:13-2:33] [0:56-1:28] (0:32)  = NOT ON OST (Tracked music, an alternate for Rey arriving at Exegol late in the film) [1:28-1:37] (0:09) = tracked music from OST 01 Fanfare and Prologue [1:44-1:52] [1:37-end] (0:07) = NOT ON OST (Tracked music from Hard To Get Rid Of 1:58-2:01) 02 Falcon Flight (2:22)
[all] = NOT ON OST 03 We Go Together (2:10)
[all] = OST 09 We Go Together [0:00-2:33], with minor edits, but a proper clean ending 04 In the Desert (2:26)
[all] = NOT ON OST 05 A Prisoner (1:23)
[all] = NOT ON OST 06 To Kimiji (1:37)
[all] = NOT ON OST 07 Fleeing from Kimiji (1:53)
[0:00-1:35] (1:35) = OST 08 Fleeing From Kijimi [0:00-1:33], with minor edits [1:35-end] (0:18) = NOT ON OST (Full clean ending of the cue) 08 Hallway Shooting (2:11)
[all] = NOT ON OST 09 Hard to Get Rid Of (2:19)
[all] = NOT ON OST 10 Join Me (2:21)
[0:00-1:48] (1:48) = OST 10 Join Me [0:00-2:05], shortened in numerous places [1:48-2:03] (0:15) = tracked music from The Battle of the Resistance [2:03-end] (0:18) = OST 10 Join Me [3:17-end] 11 The Old Death Star (2:14)
[0:00-1:14] (1:14) = OST 04 The Old Death Star [0:00-1:19], with minor edits [1:14-end] (1:00) = NOT ON OST, either tracked in from something or a replacement insert for what's on the OST from 1:19-2:21 12 Off the Waterfront (1:03)
[all] = OST 04 The Old Death Star [2:21-end] 13 Final Saber Duel (1:38)
[0:00-1:10] (1:10) = OST 12 The Final Saber Duel [0:00-1:05], with minor edits [1:10-end] (0:27)  = NOT ON OST (The proper full ending to the cue) 14 Healing Wounds (2:49)
[0:00-0:31] = NOT ON OST, definitely a replacement insert for what's on the OST from 1:05-1:42 [0:31-end] = OST 12 The Final Saber Duel [1:42-end] 15 Advice (1:54)
[all] = NOT ON OST 16 Battle of the Resistance (1:54)
[0:00-0:02] (0:02) = OST 13 Battle of the Resistance [0:04-0:08], shortened [0:02-end] (1:52) = OST 13 Battle of the Resistance [1:12-end], with minor edits 17 Approaching the Throne (4:16)
[all] = OST 14 Approaching The Throne, with minor differences (including a pitch-shifted opening and a different ending [a different choral performance with less orchestra under it]) 18 Parents (1:57)
[all] = NOT ON OST 19 Coming Together (1:44)
[all] = NOT ON OST 20 Seeing Sights (3:17)
[all] = OST 15 The Force Is With You [0:00-3:02], with minor difference (including a clean ending) 21 Rescue (1:10)
[0:00-0:15] (0:15) = OST 15 The Force Is With You [3:02-3:16] [0:15-0:30] (0:15) = NOT ON OST (A nice section he chose to microedit out of the OST program) [0:30-end] (0:40) = OST 15 The Force Is With You [3:16-end] 22 Farewell (4:27)
[all] = OST 16 Farewell [0:48-end], with minor edits 23 A New Home (1:42)
[all] = OST 18 A New Home  
If I'm adding that up right, that's 21:10 of unreleased music!
 
 
 
 
Great!  Now what if I want to combine both albums together into a long expanded album?
 
Here is a quick and dirty playlist to get the most total music possible, without using a WAV editor, just combining tracks from both into a playlist
 
OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09 We Go Together 3:17 OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08 Fleeing from Kijimi 2:51 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 10 Join Me 3:42 OST 04 The Old Death Star 3:16 OST 12 The Final Saber Duel 3:57 FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 OST 13 Battle of the Resistance 2:51 OST 14 Approaching the Throne 4:16 FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15 The Force Is with You 3:59 OST 16 Farewell 5:14 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51
SCORE TIME - 1:26:44
BONUS TRACKS OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18
BONUS TRACK TIME - 7:41  
GRAND TOTAL TIME - 1:34:25
 
 
Here is a more detailed editing guide, which you have to use sound editing software to make.  
 
THE FILM SCORE
OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09A We Go Together [0:00-2:33], with the clean ending from FYC 03 We Go Together 2:10 OST 09B Arrival at Pasaana [2:33-end] OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08A Fleeing from Kijimi [0:00-1:33], with the clean ending from FYC 07 Fleeing from Kimiji 1:53 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 08B I'm The Spy [1:33-end] 1:19 OST 10 Join Me 3:42 OST 4A The Old Death Star [0:00-1:19], seguing into the revised version of the rest of the cue heard in FYC 11 [1:14-end] FYC 12 Off The Waterfront 1:03 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 4B [2:21-end] instead) OST 12A The Final Saber Duel [0:00-1:05], with the full complete ending from FYC 13 Final Saber Duel 1:38 FYC 14 Healing Wounds 2:49 [0:00-0:31] seguing into the rest of the cue from OST 12B [1:42-end] FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 FYC 01 [0:56-1:28] Rey Arrives at Exegol OST 13 Battle of the Resistance 2:51 OST 14 Approaching The Throne 4:16 (FYC 17 features a slightly different choral ending if you prefer that) FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15A [0:00-3:02] Seeing Sights, with the full clean ending from FYC 20 Seeing Sights 3:17 FYC 21 Rescue 1:10 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 15B [3:02-end] instead, but you also have to restore the 15 seconds microedited out of the OST version at 3:16) OST 16 Farewell 4:27 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51
Alternates: OST 04A [0:00-2:21] The Old Death Star (Alternate) (2:21) OST 12B [1:05-end] Healing Wounds (Alternate) (2:52)
Concert Arrangements: OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18  
 
And finally here is a Google Doc with all this information, if you prefer to look at it that way:
 
https://docs.google.com/spreadsheets/d/1VWApmUMfiSF9gvXb3LW9QloZO-St-ITFMF-qYaNN0fw
 
 
 
Additionally, here's a theme list I started before the OST came out, that may be a bit outdated now, but hopefully I can keep it updated at some point.
 
 
 
01 Prologue (1:45)
0:08 Kylo Ren's Theme 0:43 Wayfinder Theme 0:48 Kylo Ren's Theme 0:57 Anthem of Evil 1:17 Rey's Theme 02 Falcon Flight (2:22)
0:20 The Emperor's Theme 0:31 March of the Resistance 0:48 March of the Resistance 0:57 The Rebel Fanfare 1:13 We Go Together 1:30 March of the Resistance 1:47 Hyperspace from TESB moment 1:53 Heroics 2:05 The Rebel Fanfare 2:09 The Death Star is about to blow up from ANH moment 03 We Go Together (2:10)
0:14 We Go Together 1:07 Rey's Theme 1:21 The Force Theme 1:45 We Go Together 04 In the Desert (2:26)
0:24 March of the Resistance 05 A Prisoner (1:23)
1:01 We Go Together 06 To Kimiji (1:37)
0:17 We Go Together 0:31 We Go Together 0:40 The Knights of Ren Theme 1:12 Rey's Theme 07 Fleeing from Kimiji (1:53)
0:00 Heroics 0:23 Kylo Ren's Theme 0:34 Kylo Ren's Theme 1:17 We Go Together 08 Hallway Shooting (2:11)
1:22 March of the Resistance 09 Hard to Get Rid Of (2:19)
1:29 The Emperor's Theme 10 Join Me (2:21)
0:57 Anthem of Evil 1:16 Kylo Ren's Theme 1:28 Rey's Theme (dark again) 1:53 Luke's Theme 2:07 Rey's Theme 11 The Old Death Star (2:14)
0:58 The Imperial March 1:46 Poe's Theme 1:57 March of the Resistance 12 Off the Waterfront (1:03)
  13 Final Saber Duel (1:38)
0:43 Kylo Ren's Theme 14 Healing Wounds (2:49)
0:40 The Force Theme 1:47 Leia's Theme 15 Advice (1:54)
1:18 sounds kinda like Rey's Theme? 16 Battle of the Resistance (1:54)
0:09 Luke's Theme 0:38 The Force Theme 1:19 The Force Theme 17 Approaching the Throne (4:16)
1:22 Rey's Theme (the dark variant again) 2:07 Wayfinder Theme 3:18 Victory Theme 3:33 March of the Resistance 18 Parents (1:57)
1:19 Kylo Ren's Theme 1:33 Kylo Ren's Theme 19 Coming Together (1:44)
0:00 The Emperor's Theme 0:11 Kylo Ren's Theme 0:22 Knights of Ren Theme 1:18 The Force Theme 20 Seeing Sights (3:17)
0:24 We Go Together 0:42 Rey's Theme (on piano!) 1:44 Rey's Theme 1:57 Kylo Ren's Theme 2:20 The Emperor's Theme (with bad-ass choir!) 2:49 The Force Theme 21 Rescue (1:10)
0:02 Victory Theme 0:39 The Rebel Fanfare 0:47 The Rebel Fanfare 22 Farewell (4:27)
0:13 Kylo Ren's Theme 0:48 sounds like a sad variation of Rey's Theme 1:27 sounds like a defeated version of Kylo Ren's Theme 1:44 Rey's Theme 2:35 sounds like... something? 3:32 Victory Theme 23 A New Home (1:42)
0:19 Rey's Theme  
Big thanks to @thx99 for first posting the link here.  Head over there and give him a big LIKE, will ya?

No apologies necessary! The interview and conversation were great, and I am so glad you covered the entire year in releases with Mike - and touched on other lesser known scores. It was a great listen. Well done.
 
(And also, I have had Tower's main theme in my head all day - and it's a very pleasant track to have stuck there.)

No apologies necessary! The interview and conversation were great, and I am so glad you covered the entire year in releases with Mike - and touched on other lesser known scores. It was a great listen. Well done.
 
(And also, I have had Tower's main theme in my head all day - and it's a very pleasant track to have stuck there.)

I finally got to listen to the podcast and yup it sure is great.  I was very happy to hear it started with 45 minutes of discussion of Monsignor and Minority Report, that was a pleasant surprise!
 
But the Disaster Movie Collection portion of the podcast which takes up about an hour sure was cool, especially the way Mike reveals to a flabbergasted Maurizio and Tim that it was Williams himself that asked for the three to be boxed together (it's a shame Maurizio already spoiled that tidbit ahead of the episode's release).  He also talks about the elements found for each title, the differences between working on all the different materials, all the various studios and entities involved, and lots more.
 
Even if you don't like listening to people talk about film scores like this, if you want to hear more of the music of this box set while you wait for your copy to arrive, there's plenty of lengthy clips here, which sound great - you can really tell how much of an improvement Mike made to all 3 scores.
 
I cannot recommend this podcast enough!!

Hey Minority Report fans!  Check out the latest episode of Maurizio Caschetto's great Legacy of John Williams podcast:
 
https://thelegacyofjohnwilliams.com/2019/12/11/mike-matessino-podcast-disaster-soundtrack-collection/
 
Despite being titled after the Disaster Collection, it actually contains discussion this year's Monsignor and Minority Report expansions as well!  The discussion is all peppered with nice lengthy selections from all the new albums as well, so if you were looking to hear more of how the new MR album sounds before purchasing, here's your place to do so!

The Minority Report portion of the episode runs from around 27:30 until around 44:30 and in addition to some great clips, you can hear Mike talk about the crazy process he had to go through just to make this release happen after Nick Redman passed away just as Disney was acquiring Fox, how he heard the 2002 digital archive and knew he'd have to transfer the 2002 analog tapes to get a much better sound than that could ever contain, how he ended up with isolated multi-track mixes of the orchestra, synth, vocals, and percussion and married them together for the new mix as he recreated all the performance edits, and lots more!

Thanks! Cannot wait to listen later today.

Well, thanks for posting here!
 
And I posted thanks there. 

Here, there, everywhere...

User Spinmeister at the FSM Custom Cover Art thread posted a really nice custom for this FYC:
 

https://www.filmscoremonthly.com/board/posts.cfm?threadID=132899&forumID=1&archive=0&pageID=15&r=743#bottom

Wow someone actually figured out all the score bits used in the commercial
 
 
https://chrono-score.blogspot.com/2019/12/et-extra-terrestrial-holiday-reunion.html

Indeed! The score is vastly underrated because the movie got such a bad rating. 

Regardless of one's impression of the movie, I think it's hard to deny there is some great music in Indy 4, with a lot not officially available. 
 
As for the Disaster Box Set, ordered at 3:01 EST while standing in the Modern Museum of Art in NYC with my wife sort of starting at me.

Regardless of one's impression of the movie, I think it's hard to deny there is some great music in Indy 4, with a lot not officially available. 
 
As for the Disaster Box Set, ordered at 3:01 EST while standing in the Modern Museum of Art in NYC with my wife sort of starting at me.

Regardless of one's impression of the movie, I think it's hard to deny there is some great music in Indy 4, with a lot not officially available. 
 
As for the Disaster Box Set, ordered at 3:01 EST while standing in the Modern Museum of Art in NYC with my wife sort of starting at me.