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John Powell's SOLO: A STAR WARS STORY (2018) - Deluxe Edition release coming November 2020


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Great question.  I dunno.

 

Here's another massively noticeable difference, compare 0:00 of OST Marauders Arrive to DE Deluxe Train Heist 4:43.  Those vocals are SO MUCH BETTER on the DE!

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This is a pretty awesome news , THE DELUXE EDITION!!    

BTW, I compared Deluxe Train Heist against OST Train Heist / Marauders Arrive because somebody said the ending was different.  This is what I found:

 

DE Deluxe Train Heist [0:00 4:43] = OST Train Heist [all]

DE Deluxe Train Heist [4:43-8:10] = OST Marauders Arrive [0:00-3:27]

DE Deluxe Train Heist [8:10-8:34] = not on the OST

DE Deluxe Train Heist [8:34-end] = OST Marauders Arrive [3:27-end], except DE 10:02-end is slightly different than OST 4:56-end

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12 minutes ago, Jay said:

Great question.  I dunno.

 

Here's another massively noticeable difference, compare 0:00 of OST Marauders Arrive to DE Deluxe Train Heist 4:43.  Those vocals are SO MUCH BETTER on the DE!

 

Could it be that the OST actually used the film mixes due to time constraints?

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1 minute ago, Jay said:

BTW, I compared Deluxe Train Heist against OST Train Heist / Marauders Arrive because somebody said the ending was different... but is it?  This is what I hear:

 

DE Deluxe Train Heist [0:00 4:43] = OST Train Heist [all]

DE Deluxe Train Heist [4:43-8:10] = OST Marauders Arrive [0:00-3:27]

DE Deluxe Train Heist [8:10-8:34] = not on the OST

DE Deluxe Train Heist [8:34-end] = OST Marauders Arrive [3:27-end]

 

 

The DE/Film ending of Marauders Arrive is completely different. Specifically that last ~15 seconds. At least I'm assuming the DE is the film version, I haven't gotten there quite yet. The waveform looks identical to my old edit, so that must be what it is.

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1 minute ago, Manakin Skywalker said:

 

The DE/Film ending of Marauders Arrive is completely different. Specifically that last ~15 seconds. At least I'm assuming the DE is the film version, I haven't gotten there quite yet. The waveform looks identical to my old edit, so that must be what it is.

 

Yea, you replied before I updated my post :p

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I have them on the bottom of the "detailed" tab, but unless someone tells us which one is which bit we hear in the film (and which ones are already in DE tracks), it's hard to say any more about them right now, ya know?

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That sounds fantastic and I'd love to read it!


But to clarify what I mean: take for example the end of of Deluxe Train Heist / Marauders arrive.  We know this is the cue "Failed Heist", and that cue has two inserts: "2M16C v1G Insert 030718" and "2M16C v1G Insert 2".  Only someone with the sheets can tell us which of those Inserts is the new final 18 seconds on the DE, and if the OST ending is the other insert, or the ending bars of the original cue. 

 

I hope that makes sense.

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47 minutes ago, Jay said:

That sounds fantastic and I'd love to read it!


But to clarify what I mean: take for example the end of of Deluxe Train Heist / Marauders arrive.  We know this is the cue "Failed Heist", and that cue has two inserts: "2M16C v1G Insert 030718" and "2M16C v1G Insert 2".  Only someone with the sheets can tell us which of those Inserts is the new final 18 seconds on the DE, and if the OST ending is the other insert, or the ending bars of the original cue. 

 

I hope that makes sense.

 

Yes, I thought about that too after I posted my comment. It'll be difficult to discern exactly what is what. @BrotherSound perhaps you could help us all out since you have the sheets ;)

___________________________________________________________________________________________________________________________________________________

 

I don't know why, but for some reason Stormtrooper JP-054 Karaoke made me think of something Randy Marsh would sing.

 

 

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23 hours ago, crumbs said:

I can't remember who lamented the lack of a clean ending for the end credits immediately after the Family Stories section (due to it being in a different key from the film cue), but theoretically this could be achieved by phasing out the start of Lando's Closet to create a clean ending.


I decided to test this, and it did work somewhat. The mix must have been subtly different, because it only resulted in making the following section super quiet. At normal volume, it'd sound pretty isolated, but I'm sure a more attentive ear would pick up on the artifacts of what was there. In fact, I'm not sure if it's much different from merely just fading out on the regular track, but you be the judge of that.

Also, for anyone who cares about the full list of who worked on what cue, Hybrid did update the DE page today on the HZ website (though Willis is missing on Extra Deluxe Mine Mission): http://hans-zimmer.com/index.php?rub=disco&id=1862

 

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1 hour ago, stravinsky said:

What always astounds me is the musicianship of these incredible session players. I mean how much rehearsal would they get for one cue? The music is so multifaceted and urgent but everything is so tight. And I don't mean just this score. Their unerring ability to just pick something up and make it sound like this leaves me in total awe. 

 

From what I hear, you might get the sheet music a few days in advance but there's little or no ensemble rehearsal. Time truly is money at the recording sessions, so my understanding is that they do everything they can to get a useable take (or mixture of takes) ASAP and then move on to the next cue. Studio musicians are there to make that process as efficient as possible.

 

And yes, the fact that they pull it all off is just incredible!

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On 11/19/2020 at 10:14 PM, Will said:

 

Gosh I'm really in love with "Empire Recruitment" as well. Definitely sounds super British. Reminds me a tad of Walton (or of JW's own forays into a British sound, like a couple times in HP1). 

 

It's as if Elgar himself arranged it.

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9 hours ago, stravinsky said:

What always astounds me is the musicianship of these incredible session players. I mean how much rehearsal would they get for one cue? The music is so multifaceted and urgent but everything is so tight. And I don't mean just this score. Their unerring ability to just pick something up and make it sound like this leaves me in total awe. 

 

You should check out "The Legacy of John Williams" podcast. Mauricio has been interviewing a dozen or so L.A studio musicians who've played on Williams's scores over the last 40 years. Their stories are fascinating, as is the way they offhandedly describe getting one, maybe two, run-throughs of some of the lost difficult music ever written before they hit "record" and have to do it for real.

 

I just finished the Malcolm McNab (principal trumpet) episode. It's stunning to me that he was able to do most of JURASSIC PARK in one take with no real rehearsal.

 

I was also surprised that JW picks who plays in the orchestra. I always just assumed the studio orchestra was staffed by the studio, not the composer. Jim Self (William's principal tubist and the voice of the mothership in CE3K) talked about how Williams cleaned house in the entire brass section around the time FORCE AWAKENS came out. Players who had been with him for decades were out and he seated a whole new crew.

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13 hours ago, Manakin Skywalker said:

There appears to be an insert missing in Mimban Battle (the strings after the Imp. march); unless it was tracked in the film from elsewhere.

 

I dont think that's an insert. I think thats just the strings from the same track but they removed the final leg of the Imperial March for some god knows reason. I also hear the bit of 0:20-0:26 buried under tons of ridiculous soundeffects.

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Between this and JFO, these are the kind of non-Williams Star Wars scores I love. Confident yet playful with the established sound, and with a hearty dose of creativity and also just delightful whimsy. When it sounds like the composers are having fun then that joy gets transferred through the music, and I'm just really glad to be able to re-discover a score that already impressed me and find a new appreciation for it. That new mix is genuinely fantastic, and this score might feature some of my favourite rendition of classic themes ever between that gorgeous Luke's theme snippet and the delightfully dominating wall of sound that is the Imperial March in Mimban Battle.

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10 minutes ago, bollemanneke said:

I'm really sorry if this has been answered before, but I don't really have time to go through all the pages and spreadsheet now. Can someone quickly tell me which OST tracks have unique material?

 

20 hours ago, Jay said:

 

  • The last 18 seconds of "Marauders Arrive" is slightly different than the last 18 seconds of "Deluxe Train Heist"
  • "Chicken In The Pot" features different vocals than the version here
  • "Good Thing You Were Listening", from 1:03-end, is 7M44B Alt Qi'Ra Departs, a revised ending of 7M44A-B Beckett Departs that did not get used in the film.  Beckett Departs is heard in its entirety in the DE track "Maul's Call / Parting Ways" from 2:02-3:39, and Qi'Ra Departs is an unused replacement for the part from 2:39-3:39
  • "The Adventures of Han" is not on the DE at all

That's is, apart from of course the fact that the entire OST is a completely different mix than the DE.

 

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4 hours ago, MedigoScan said:

I dont think that's an insert. I think thats just the strings from the same track but they removed the final leg of the Imperial March for some god knows reason.

 

Yeah I noticed that yesterday as well. The strings are still present, just buried under the brass. It still wouldn't been an additional take or insert though since the instruments were all recorded together.

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I just finished listening to the score. Really glad I got this. It is so great that Maestro John Williams was involved with Solo from the beginning, spotting the film with John Powell, writing several themes for the film, previewing them for both Ron Howard and John Powell on the piano, conducting and recording them with an orchestra as demos, and keeping in touch with John Powell throughout the scoring process. It really shows in the final score. It is a perfect integration and blend of the Maestro's work and John Powell's work. Not to mention that John Powell does a great job with his own material, in addition to adapting the Maestro's themes and music. Really cool!

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Isn't it weird that the DE is only being promoted by Powell on his Instagram and Facebook? There has been not a single announcement by Disney as far as I can tell. Is it possible that they only licensed the whole thing for Powell's studio to release it themselves (a speciality label-like situation)? 

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5 hours ago, Bounty95 said:

Isn't it weird that the DE is only being promoted by Powell on his Instagram and Facebook? There has been not a single announcement by Disney as far as I can tell. Is it possible that they only licensed the whole thing for Powell's studio to release it themselves (a speciality label-like situation)? 

 

Disney probably wants to forget that this movie ever happened.

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15 hours ago, rough cut said:

 

@Jay Shouldn’t this be in the spreadsheet? Or it’s there and I missed it?

 

Added.


Google Doc now fully updated with all the info I know!

 

Who wants to make guesses at these questions?

 

When inside "Mimban Battle" does it switch from 10MA to 10MB?

 

When inside "Train Heist" (or "Deluxe Train Heist") does it switch from "Campfire" to "Conveyex"?

 

When inside "Breakout" (or "Extra Deluxe Mine Mission") does it switch from "Breakout" to "L3's Sacrifice"?

 

When inside "Into The Maw" (or "Kessel Run In Less Than 12 Parsecs") does it switch from "Monster" to "Maw", and from "Maw" to "Landing"?

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7 minutes ago, Jay said:

When inside "Train Heist" (or "Deluxe Train Heist") does it switch from "Campfire" to "Conveyex"?

My guess would be that they're edited into each other around here, with Conveyex perhaps starting around 1:28 (???) or perhaps even later with the big action startup 1:43 being an edit. All speculation!

 

7 minutes ago, Jay said:

When inside "Breakout" (or "Extra Deluxe Mine Mission") does it switch from "Breakout" to "L3's Sacrifice"?

I'm pretty sure L3's Sacrifice begins to fade in with the strings here:

 

 

Anthony Willis, who is credited for that cue, has that 58 second stretch that follows uploaded to his website under the title L3's Sacrifice, so that must be it. 

 

As for the others, I couldn't say.

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I was listening today, and something that I already had thought when the score was released came up.

 

The Into the Maw part of Kessel Run is very... cartoon-y, isn't it? In particular, the descending trombones reminded me of something you can hear in an old Cartoon Network commercial.

 

 

 

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28 minutes ago, Spider-Fal said:

Honestly that never sounded cartoony to me, but I can kinda hear what you are getting at.

It always reminded me more of this at 8:34:

 

 

Yeah, the track sounds to me like a big salad: Cartoon Network trombones, Elliot Goldenthal French Horns dissonance and The Matrix-like string runs.

 

I wonder what they used as temp track for that scene.

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1 hour ago, Edmilson said:

I was listening today, and something that I already had thought when the score was released came up.

 

The Into the Maw part of Kessel Run is very... cartoon-y, isn't it? In particular, the descending trombones reminded me of something you can hear in an old Cartoon Network commercial.

 

 

 

The part at 3:36 sounds very similar to a specific production cue that I can't recall the name of, I think it appeared in cartoons like Spongebob Squarepants.

 

This is what it sounds like, if anyone can identify it:

https://drive.google.com/file/d/1YpwTvj3YtGKQf7bqAN9_LEXP8vR-ZaJa/view?usp=sharing

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42 minutes ago, crumbs said:

I haven't checked the film to see what this underscores, but am I hearing the Imperial motif from ANH here at 1:50?

 

It's the build-up to Han shooting Beckett (the crescendo is when Han fires). He's just monologuing about Han not paying attention; nothing to do with the Empire, so I'm not sure why that would've been referenced here.

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The "fakery" theme only appears 3 times in the whole score, right?

What are the tracks and timestamps again?

 

 

 

~

 

 

12 hours ago, crumbs said:

I haven't checked the film to see what this underscores, but am I hearing the Imperial motif from ANH here at 1:50?

 

I know this was already on the OST, I just never thought to point it out until now. :P

 

Here you go: https://www.youtube.com/watch?v=UAgc9vg6pXE

 

Around 0:40 in that clip

 

As others have said, there's no reason to use the Imperial motif during that scene, so it is just something that sounds coincidentally kinda similar

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16 hours ago, BrotherSound said:

 

0:53

 


1:44

 


7:54

 


9:56 and 10:34

 

Thanks, google doc updated!

 

BTW, is the 10:34 for "Kessel Run" really accurate?  The Rebel Fanfare really begins at the end of one cue, and resumes mid-theme in the next?

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