Jump to content

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


Recommended Posts

  • Replies 3.9k
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Popular Posts

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

In defense of Rogue One - that was quite a dour film, and the last time I saw it I thought it tried to pull off some moments of levity, but ended up making the film feel like a mish-mash of conflicting tones. Any score would've had to paint that canvas with the same colours and I think Giacchino managed a fine effort in bridging Williams' OT style with his own modern sensibilities. 

Link to post
Share on other sites
20 minutes ago, Arpy said:

In defense of Rogue One - that was quite a dour film, and the last time I saw it I thought it tried to pull off some moments of levity, but ended up making the film feel like a mish-mash of conflicting tones. Any score would've had to paint that canvas with the same colours and I think Giacchino managed a fine effort in bridging Williams' OT style with his own modern sensibilities. 

To me the action music just ended up sounding like alot of dull (not so much dull as in boring, but as in like blunt) pounding, though a lot of Gia's crews stuff can sound like that (for instance Chad Seiter' stuff)

 

That's Just how I felt though, if someone else liked it thats okay!

Link to post
Share on other sites

They really are radically different approaches to scoring a Star Wars standalone film. Rogue One very much goes the Williams pastiche route, albeit filtered through Giacchino's very different musical voice. Solo quotes Williams' work and obviously revolves around his new thematic material, but it never veers into pastiche territory. Overall, I'd say I appreciate its presence in the franchise more than R1's (although I prefer R1 as a film overall).

Link to post
Share on other sites
8 minutes ago, bruce marshall said:

I felt MG was too close to copying JW.

 

I think I agree. R1 apes his stylistic tendencies on a superficial level, but not in a way that accesses what makes JW's work compelling. The parts of R1 that I like best tend to sound more Giacchino than Williams.

Link to post
Share on other sites

So I came across this on www.hans-zimmer.com. Seems to be the cue sheet unordered but including the bits with John Wiliams material:

 

Couple of interesting things. 

Williams in the film cuesheet seems to have been credited only for "his" cues but never for others' cues (even if they use either old Star Wars music or new JW Solo material) : 

OPENING (JP) 
ENFYS STANDOFF (JP) 
FAILED HEIST (JP) 
KESSEL RUN PT 1 – TIE CHASE A (JW) 
KESSEL RUN PT 1 – TIE CHASE B-1 (JP) 
KESSEL RUN PT 1 – TIE CHASE C (JW) 
KESSEL RUN PT 1 – TIE CHASE D (JP) 
KESSEL RUN PT 1 – TIE CHASE E-2 (JP) 
KESSEL RUN PT 2 – TIE CHASE F (JP) 
KESSEL RUN PT 2 – MAW (JP BS) 
KESSEL RUN PT 3 – LIFTOFF (JP) 
KESSEL RUN PT 4 – LANDING (JP) 
L3 & FALCON PT 1 (JP) 
L3 & FALCON PT 2 (JP) 
L3’S SACRIFICE (JP) 
SKYPE SHOWDOWN (JP) 
CHEWIE UNTAMED PT 1 (JP AW) 
CHEWIE UNTAMED PT 3 (JP) 
LANDO’S CLOSET (JP AW) 
SAVAREEN TENT A (JP) 
SAVAREEN TENT B (JP AW) 
CORELLIA CHASE (JP BS) 
DRYDEN FIGHT (JP AW) 
DRYDEN FIGHT PT 2 (JP) 
DRYDEN YACHT DUET (JP) 
ENFYS NEST ARRIVES (JP BS) 
MINES PT 1 – HEIST (JP PM) 
MINES PT 2 – FINDING COAXIUM (JP) 
MINES PT 2 – CONT’D (JP) 
MINES PT 3 – BREAK-OUT (JP) 
REAL THING DOUBLE CROSS (JP PM) 
SPACEPORT (JP AW) 
THE BEAST (JP BS) 
BECKETT DEPARTS (JP) 
BECKETT LEAVES (JP) 
BECKETT SHOWDOWN (JP) 
CRAWL (JP) 
CRAWL (FROM 1M04-05) (JP) 
CRAWL (FROM 2M13) (JP) 
CRAWL (FROM 4M28) (JP) 
CRAWL (FROM 4M30B) (JP) 
LANDO (JP) 
MAIN ON ENDS (JP) 
MAIN ON ENDS (FROM 5M32) (JP) 
BACK TO DRYDEN’S (JP) 
BLACKMAIL (JP) 
BUNK – PROXIMA (JP) 
CAMPFIRE (JP) 
CONVEYEX PT 1 (JP) 
FAMILY STORIES B (JP) 
HAN & QI’RA REUNITE (JP) 
JUNGLE CANTINA SOURCE (JP) 
MEET DRYDEN (JP) 
MIMBAN BATTLE PT 2 (JP) 
MIMBAN BATTLE PT 3 (JP) 
SABACC GAME (JP) 
SABACC REMATCH (JP) 
SURVEYING CONVEYEX (JP) 
TESTING DRYDEN’S PATIENCE (JP) 
TO TATOOINE PT 1 (JP) 
TRUST NO ONE (JP) 
WALK TO DRYDEN’S PT 1 (JP) 
WALK TO DRYDEN’S PT 3 (JP) 
YACHT PARTY SOURCE (JP) 
YOU DON’T KNOW EVERYTHING (JP) 
THE HAN SOLO THEME (JW) 

 

This is what I could find. Some of the cues I couldn't find at all like Family Stories A, Gonna Be A Pilot or To Tatooine Pt 2 probably have all one thing in common : I guess they're 100% credited to JW. 

That cuesheet matches in fact with the credits I posted above that come from JP's team. 

 

Interestingly, the 2018 Album does credit Williams very specifically on every cue any of his material is used (The % come from the fact Powell & Mounsey are ASCAP, Williams, Willis & Sener are BMI) : 

ADVENTURES OF HAN (HAN SOLO THEME) 
JW 100% 
MEET HAN 
JP 28% JW 72% 
CORELLIA CHASE 
JP 50% JW BS 50% 
SPACEPORT 
JP 55% JW AW 45% 
FLYING WITH CHEWIE 
JP 48% JW AW 52% 
TRAIN HEIST 
JP 92% JW 8% 
MARAUDERS ARRIVE 
JP 55% JW BS 45% 
CHICKEN IN THE POT 
JP 100% 
IS THIS SEAT TAKEN? 
JP 77% JW 23% 
L3 & MILLENNIUM FALCON 
JP 86% JW 14% 
LANDO’S CLOSET 
JP 100% 
MINE MISSION 
JP 98% JW 2% 
BREAK OUT 
JP 78% JW 22% 
THE GOOD GUY 
JP PM 74% JW AW 26% 
REMINISCENCE THERAPY 
JP 30% JW 70% 
INTO THE MAW 
JP 47% JW BS 53% 
SAVAREEN STAND OFF 
JP 94% JW 6% 
GOOD THING YOU WERE LISTENING 
JP 100% 
TESTING ALLEGIANCE 
JP 51% JW AW 49% 
DICE & ROLL 
JP 65% JW 35% 
 

Credit to Hybrid Soldier.

Link to post
Share on other sites
6 hours ago, DrTenma said:

Interestingly, the 2018 Album does credit Williams very specifically on every cue any of his material is used

 

Not surprised by that. I’ve come across multiple albums on iTunes that list—in the Composer field—a composer whose music was referenced/used in the track, even though they themselves had nothing to do with writing the specific track. I think it’s an iTunes/digital music store common practice. The Artist field seems to be used for the guy who specifically worked on the track for the most part (generally the main composer of the soundtrack), while the Composer field is used to list every composer whose music was featured in the track.

 

Take for instance “Canto Bight” from TLJ; in the Composer field we have "John Williams & Ary Barroso” because “Brazil” is quoted—even though Ary Barroso obviously had nothing to do with TLJ. Or another example: The recent “Quite a Soldier” track from Mandalorian Season 2 lists “Ludwig Göransson & John Williams” in the Composer field due to the JW reference it uses.

Link to post
Share on other sites
22 hours ago, Manakin Skywalker said:

My attempt at trying to piece together the original Mimban Battle sequence. Obviously there's no way to know exactly how the original scenes were edited, but I tried. Not too much editing was necessary; for part 1 I needed to edit out about 1-2 seconds of footage (I randomly selected a very short shot), for part 2 I needed to simply extend the transition between the opening portion and the latter portion since the second half doesn't sync correctly if left unedited.

 

Mimban Battle

 

Heh, thanks for that!  I've only seen this film once so barely remember any of the plot developments.  I also forgot how dark and muddy looking the film is; When Han's Theme kicked in here I thought he was running away from battle, not doing what he was supposed to!

 

The choir-backed rendition of the gang theme when Beckett is introduced is kinda goofy in context, makes sense why they mixed out the choir in the actual film (but I love it on the album)

 

22 hours ago, Manakin Skywalker said:

Not as significant, but I also restored the Oksana Floren cue. Not nearly as edited in the film, but there are a few cuts and loops here and there, most notably when the Pike character is revealed.

 

Oksana Floren, etc.

 

What's the significance us using Luke's Theme for the close-up shot of the Millennium Falcon dice in his hand?

Link to post
Share on other sites
6 minutes ago, Tydirium said:

 

Not surprised by that. I’ve come across multiple albums on iTunes that list—in the Composer field—a composer whose music was referenced/used in the track, even though they themselves had nothing to do with writing the specific track. I think it’s an iTunes/digital music store common practice. The Artist field seems to be used for the guy who specifically worked on the track for the most part, while the Composer field is used to list every composer whose music was featured in the track.

 

Take for instance “Canto Bight” from TLJ; in the Composer field we have "John Williams & Ary Barroso” because “Brazil” is quoted—even though Ary Barroso obviously had nothing to do with TLJ.

 

You are right, I'm not surprised by the credits in a platform as iTunes but there Hybrid Soldier is talking about the difference between the credits for the Deluxe Edition and the Album in ACAP and those sites. 

Link to post
Share on other sites
2 hours ago, Alan said:

Need opinons. I've tried to create an edit of the end credits that goes in to The Adventures of Han after the fanfare. This is just a quick and dirty edit for now but what do people think about it as an idea?

 

https://drive.google.com/file/d/1vMj-68M6tORWIcNBmodTiqTxVDdBHUZQ/view?usp=sharing

 

Not bad!

Link to post
Share on other sites
10 hours ago, Alan said:

Need opinons. I've tried to create an edit of the end credits that goes in to The Adventures of Han after the fanfare. This is just a quick and dirty edit for now but what do people think about it as an idea?

 

https://drive.google.com/file/d/1vMj-68M6tORWIcNBmodTiqTxVDdBHUZQ/view?usp=sharing

 

I dig it! I do think it's still a little choppy; part of that is going to be inevitable because of the nature of the two passages you're bringing together, but I think you might be able to smooth it over a little more.

 

Alternatively, here are a couple more options for ya.

 

https://drive.google.com/file/d/1GxlD016YjJxu2dCbLMF1wQSZptkXJRUG/view?usp=sharing

https://drive.google.com/file/d/1wokCkzDBWNH7zlmWlIA4NQ2C91Xvwmfe/view?usp=sharing

 

Each has its downsides: v1 omits the very beginning of "The Adventures of Han" but flows pretty seamlessly, whereas v2 includes the entire thing but relies on material from another Star Wars score to bridge the gap. Imagining it as an actual end credits cue, I think I may like the first one better.

 

Anyway, thanks for the inspiration to try these out! I hadn't bothered till now.

 

Link to post
Share on other sites
3 hours ago, Jay said:

 

Not bad!

 

17 minutes ago, Datameister said:

 

I dig it! I do think it's still a little choppy; part of that is going to be inevitable because of the nature of the two passages you're bringing together, but I think you might be able to smooth it over a little more.

 

Alternatively, here are a couple more options for ya. Each has its downsides: v1 omits the very beginning of "The Adventures of Han" but flows pretty seamlessly, whereas v2 includes the entire thing but relies on material from another Star Wars score to bridge the gap. Imagining it as an actual end credits cue, I think I may like the first one better.

 

Anyway, thanks for the inspiration to try these out! I hadn't bothered till now.

1825426375_SoloEndCreditswithTheAdventuresofHanv2.flac 28.12 MB · 0 downloads 1119731009_SoloEndCreditswithTheAdventuresofHanv1.flac 24.66 MB · 1 download

 

Thanks! Really like your approaches @Datameister!

 

I've spent a bit longer on it (getting used to Audition!). I wanted the boyancy at the end of the fanfare to sort of "leap" in to the brass of The Adventures of Han. I think I've achieved something closer to that this time and have also attached the Sabaac Rematch and To Tatooine at the start.

 

Here's the updated version :)

https://drive.google.com/file/d/1hmg_Y5XpwA48c12egI9X22NkBwArGfcl/view?usp=sharing

Link to post
Share on other sites
5 minutes ago, Alan said:

 

 

Thanks! Really like your approaches @Datameister!

 

I've spent a bit longer on it (getting used to Audition!). I wanted the boyancy at the end of the fanfare to sort of "leap" in to the brass of The Adventures of Han. I think I've achieved something closer to that this time and have also attached the Sabaac Rematch and To Tatooine at the start.

 

Here's the updated version :)

https://drive.google.com/file/d/1hmg_Y5XpwA48c12egI9X22NkBwArGfcl/view?usp=sharing

 

Ooh, definite improvement! I like!

Link to post
Share on other sites

@Manakin Skywalker we're talking about creating fantasy versions of the credits with "The Adventures of Han" included, not just how to segue from "To Tatooine". :)

 

P.S. After further consideration, I've moved my v1 from earlier into my own custom Solo playlist, replacing the "real" end credits. I was just doing these for the fun of it, but I think that one does a really nice job of wrapping up the score! I'm still keeping the full concert suite at the beginning too like the OST, though.

Link to post
Share on other sites
1 minute ago, Datameister said:

@Manakin Skywalker we're talking about creating fantasy versions of the credits with "The Adventures of Han" included, not just how to segue from "To Tatooine". :)

 

I need to get in a habit of reading more than the last comment. :lol:

 

Jay was mentioning the segue the other day so I thought that's what you and Alan were talking about.

Link to post
Share on other sites

This might not be the right choice, but I never listen to The Adventures of Han. So the track arrangement of the Deluxe works for me!

 

For reasons that I can't figure out TAOH sounds like a Williams piece that he decided to use for Solo. But when Powell gets it and arranges it it feel like Han. It certainly feels like the Han we see in Solo.

 

I loved that movie and I'm disappointment we don't appear to be getting a sequel.

 

I'm loving the Deluxe edition but I still can't say that I know all the nooks and crannies like I do the Original Trilogy or Superman so I'm not entirely certain what was missing other than some delightful Williams quotes. I have to admit the music was mixed so low that I never realized that they were playing Duel of the Fates when Darth freaking Maul was on screen!

Link to post
Share on other sites
1 hour ago, Tallguy said:

This might not be the right choice, but I never listen to The Adventures of Han. So the track arrangement of the Deluxe works for me!

 

For reasons that I can't figure out TAOH sounds like a Williams piece that he decided to use for Solo. But when Powell gets it and arranges it it feel like Han. It certainly feels like the Han we see in Solo.

 

I loved that movie and I'm disappointment we don't appear to be getting a sequel.

 

I'm loving the Deluxe edition but I still can't say that I know all the nooks and crannies like I do the Original Trilogy or Superman so I'm not entirely certain what was missing other than some delightful Williams quotes. I have to admit the music was mixed so low that I never realized that they were playing Duel of the Fates when Darth freaking Maul was on screen!

 

The concert suite definitely feels different. It's Williams through and through, whereas everything else is a Powell score that draws on the material Williams wrote. So while I really like hearing the two together, I can appreciate where you're coming from.

Link to post
Share on other sites
5 hours ago, Marian Schedenig said:

 

None of that is reassuring!

 

320_nonono_short.gif

Only reassuring to give ya on a grasp on where I come from in terms of my tastes! Can’t drum up much of any interest in anything Star Wars. Even as a wee tyke, I recall sitting through the original movies out of obligation than being compelled by what I was seeing.

Space ventures just were never my thing. 

Powell just jives with me for whatever reason. Even when he’s scoring for a genre or subject I’m otherwise not interested in, I’m compelled to delve into listening. I don’t give a rat’s poop about the character Chewbacca, but Powell can sure trick me into believing otherwise!

Link to post
Share on other sites
5 hours ago, Tallguy said:

For reasons that I can't figure out TAOH sounds like a Williams piece that he decided to use for Solo. But when Powell gets it and arranges it it feel like Han. It certainly feels like the Han we see in Solo.

 

Maybe it has to do with the orchestra? There's a distinctive difference in how the Williams recording sound compared with the rest of the score. 

 

13 hours ago, Datameister said:

 

I dig it! I do think it's still a little choppy; part of that is going to be inevitable because of the nature of the two passages you're bringing together, but I think you might be able to smooth it over a little more.

 

Alternatively, here are a couple more options for ya.

 

https://drive.google.com/file/d/1GxlD016YjJxu2dCbLMF1wQSZptkXJRUG/view?usp=sharing

https://drive.google.com/file/d/1wokCkzDBWNH7zlmWlIA4NQ2C91Xvwmfe/view?usp=sharing

 

Each has its downsides: v1 omits the very beginning of "The Adventures of Han" but flows pretty seamlessly, whereas v2 includes the entire thing but relies on material from another Star Wars score to bridge the gap. Imagining it as an actual end credits cue, I think I may like the first one better.

 

Anyway, thanks for the inspiration to try these out! I hadn't bothered till now.

 

I think I like your v1 the best!

Link to post
Share on other sites
6 hours ago, DrTenma said:

 

Maybe it has to do with the orchestra? There's a distinctive difference in how the Williams recording sound compared with the rest of the score. 

 

I think I like your v1 the best!

 

I'd say it's definitely a combination of the writing itself and the sound of the recording. And come to think of it, part of the reason these fun credits edits work is the fact that you're transitioning from Williams to Williams, not Williams to Powell or vice versa. The quality of the sound changes, but the composition style stays fairly constant.

Link to post
Share on other sites

Why does Enfys' Stand-Off have what sounds like distant vocals (but is presumably some synth thing?) from 0:15ish to 0:30ish?

 

It sounds like you're in an apartment building and your neighbor 3 units down has their TV on too loud

Link to post
Share on other sites
20 minutes ago, Jay said:

Why does Enfys' Stand-Off have what sounds like distant vocals (but is presumably some synth thing?) from 0:15ish to 0:30ish?

 

It sounds like you're in an apartment building and your neighbor 3 units down has their TV on too loud

d83.png

;)

 

As I said when you asked before, I believe its a whirly tube, which Horner used on Wrath of Khan.

 

 

Link to post
Share on other sites
20 minutes ago, Smaug The Iron said:

 

 

 

If Disney Records let Mondo do the vinyl version of the OST, will they also get to do the vinyl version of the DE?

This was announced a few days ago, incidentally

 

https://www.slashfilm.com/solo-vinyl-soundtrack/

https://www.comingsoon.net/movies/news/1156046-mondo-unveils-solo-a-star-wars-story-vinyl-soundtrack

https://www.jedinews.com/film-music-tv/articles/solo-a-star-wars-story-soundtrack-getting-vinyl-release-from-mondo/

 

 

 

5 minutes ago, Spider-Fal said:

How many times do we ha e to teach you this lesson old man!

 

I believe its a whirly tube, which Horner used on Wrath of Khan.

 

Yea but I'm not asking how they made the sound I'm asking what it represents

Link to post
Share on other sites
55 minutes ago, Spider-Fal said:

They are walking through the windy streets of Savareen, with shots of the village, and villagers.

 

I guess it could represent the ghost townness with the wind blowing.

 

Which I guess would kinda match with Ceti Alpha V too.

Yeah, I always identified it with the windy ghost-town feel. Cool sound!

Link to post
Share on other sites

I always thought that sound represented the Savareen villagers who’d had their tongues cut out by Crimson Dawn and couldn’t speak. I think that part of the track plays when Beckett tries to talk to one of the locals who doesn’t reply.

Link to post
Share on other sites
22 hours ago, Spider-Fal said:

As I said when you asked before, I believe its a whirly tube, which Horner used on Wrath of Khan.

 

Oh neat, I have one of those things from when I was younger. I never really made the connection that it was used in a few scores I'm familiar with. I think I repainted it as part of a Halloween costume at one point many, many years ago but I'm sure it still sounds the same, assuming I still have it somewhere. :lol:

Link to post
Share on other sites
11 minutes ago, Manakin Skywalker said:

 

Oh neat, I have one of those things from when I was younger. I never really made the connection that it was used in a few scores I'm familiar with. I think I repainted it as part of a Halloween costume at one point many, many years ago but I'm sure it still sounds the same, assuming I still have it somewhere. :lol:

Yeah, you can hear it at a more recognizable pitch here at the beginning:

 

 

And here at 2:00

 

 

Which also sounds like this now that I think of it:

 

 

Here is for comparison and visual:

 

 

Link to post
Share on other sites

And it's absolutely used in JFO - don't know the track name exactly but one of the cues played on Kashyyyk.

 

Something which I don't recall seeing get discussed before is Battlefront 2. It came out in November 2017 - a good 6 months before Solo.

 

Now take a listen to the track Han's Kessel Run - https://soundcloud.com/gordyhaab/06-hans-kessel-run

 

1:03 onwards is the quite-but-not-quite version of the Solo theme. Does anybody know when Williams recorded his demos? I find it hard to believe this just happened by coincidence and assume Gordy Haab was "in" on what Williams and Powell were working on.

Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...