Soundtrack Review: Revenge of the Sith


Composed and Conducted by: John Williams

The conclusion to the misguided prequel trilogy is probably my favorite of the bunch. While the script still sucks and the acting still suffers from poor direction, lack of real sets in lieu of a blue screen, and Hayden Christenson, Revenge of the Sith focuses a lot on battles, which happen to be the prequel trilogy’s only constant strength. John Williams delivers a large epic score and the end result, while very good, seems to have missed the mark in a couple of areas.

Revenge of the Sith has little in the way of new themes, even more so on album.

Arrival: This stately motif appears after Anakin crash lands the Separatist warship and later on when Obi-Wan arrives at Utapau. It’s absent from the album.

Battle of the Heroes: “The Battle of the Heroes” showcases the new battle theme. Unlike “Duel of the Fates”, “Battle of the Heroes” is much more emotional and is more about Anakin’s betrayal and his personal duel with Obi-Wan. Although it only appears in the movie’s last quarter, it is the tune that sticks the most.

Betrayal: Showcased in “Anakin’s Betrayal”, this mournful choral music accompanies the extermination of the Jedi and actually makes it a good scene. It speaks to the power of John Williams’ music, because honestly we don’t really know and love any of the Jedi being wiped out. It appears again right before Anakin and Obi-Wan duel.

General Grievous: The other new theme on album is a pompous march for General Grievous, appearing most obviously in “Grievous Speaks to Lord Sidious”. Interestingly enough, his theme does not appear in the track that states his name.

There is one major disappointment which some fans had with the other two soundtracks, but here it matters more. That is the near-absence of themes from the original trilogy. Many expected the Imperial March to appear more often since Anakin becomes Darth Vader, but it appears only briefly, except in “Anakin vs. Obi-Wan”, where it sounds like it was just ripped from The Empire Strikes Back’s “Clash of Lightsabers”. The Emperor’s theme too is almost absent, even though he has a large presence in the movie. A few notes of his theme appear in “Enter Lord Vader”, but the action variation from his duel with Mace Windu is absent from the album. The Force theme is once again the only theme from the original trilogy to a make a significant contribution.

Likewise, the prequel trilogy’s themes seem to have been shoved out of the picture, with only a brief fanfare and the choral requiem from The Phantom Menace and “Across the Stars” from Attack of the Clones making returns. “Across the Stars” has a couple of gorgeous moments in “Anakin’s Dream”, appearing on melancholy strings near its opening. But even as Padme dies, this theme is absent, last appearing as a barely audible tune under wailing choir in “Padme’s Ruminations”.

But for all the thematic flaws, Revenge of the Sith still manages to thrill the listener. The first track features an amazing moment in which the Force theme is accompanied by a militaristic background. The cue is further helped by a pounding action section and a grand, sinister statement of Grievous’s theme. “Anakin’s Betrayal” is an emotional choral piece accompanying the betrayal and murder of the Jedi. Despite having to thematic connection to other tracks on the album, this piece still caused an emotional response in me as I watched made-for-action-figure Jedi characters sheepishly let themselves get killed in mere seconds, proving how good it is.

“General Grievous” is the most thrilling action cue, with a low-key buildup that leads into a furious brassy climax. “Palpatine’s Teachings” can either bore or intrigue you with over a minute of an eerie, droning choir, which end with a soft statement of the Imperial March. “Anakin’s Dark Deeds” has one of the best moments. The beginning sounds a little too ripped from Lord of the Rings, but as it nears its end it features a tragic melody followed by a dramatic villainous fanfare.

John Williams actually fails to create an appropriate end credit suite. The last track’s first half is amazing, with several well-thought references to the first movie’s themes to connect the two trilogies, plus a rendition of Princess Leia’s theme as the end credits start to roll. After another presentation of “Battle of the Heroes”, Williams is left with a choice: score a climax to the Star Wars movies as a whole or score an appropriate bridge between the two trilogies. He chooses the former, resulting in a rehashing of the concert version of “Throne Room & Finale”. It sounds good, but does not fit too well with the tragic apocalyptic material from the other tracks. It also is now rendered pointless since we are now witnessing a new crop of Star Wars movies.

John Williams’s arrangement of his music on album is also less than satisfactory. While not very chronologically correct, the music flows okay until the track “Anakin vs. Obi-Wan”. Tracks 9-11 actually play out in exact reverse order of when they appear in the film, resulting in some personal frustration for me. This sequencing also completely shoves any action material out of the soundtrack’s last third. A reordering of the tracks is probably necessary for a better listening experience.

All in all, Revenge of the Sith has fantastic music, but Williams’s failure to use his themes more and some poor album production can result in disappointment for some listeners. However, fans might be pleased with an additional DVD disc which doesn’t affect the price. This disc features most of the concert arrangements set to montages of scenes from the movie to create the story of Star Wars.

Rating: 7/10

  1. Star Wars Main Title And Battle Over Coruscant (7:31) 8/10
  2. Anakin’s Dream (4:46) 8/10
  3. Battle of the Heroes (3:42) 10/10
  4. Anakin’s Betrayal (4:03) 10/10
  5. General Grievous (4:07) 9/10
  6. Palpatine’s Teachings (5:25) 6/10
  7. Grievous And The Droids (3:27) 6/10
  8. Padmé’s Ruminations (3:16) 5/10
  9. Anakin Vs. Obi-Wan (3:57) 6/10
  10. Anakin’s Dark Deeds (4:05) 7/10
  11. Enter Lord Vader (4:14) 7/10
  12. The Immolation Scene (2:41) 6/10
  13. Grievous Speaks To Lord Sidious (2:49) 6/10
  14. The Birth Of The Twins And Padmé’s Destiny (3:37) 8/10
  15. A New Hope And End Credits (13:05) 6/10

Soundtrack Review: Attack of the Clones

File:Star Wars Episode II Attack of the Clones (soundtrack).jpg

Three years after the disappointment of Phantom Menace, many fans still found their expectations building for Attack of the Clones. It’s about as bad as its predecessor, some would say worse. While there is no child Anakin or Jar Jar, there is still unmemorable characters and too much politics. Also added to the mix is a whiny Anakin Skywalker who spends a good chunk of the film engaged in the worst love story of modern cinema. But also like Phantom Menace, a bright spot is John Williams’ score.

However, Williams did show a troubling trend of holding back on new themes, even though the score is still a thematic one.

Anakin and Padme: Showcased in “Across the Stars”, this sweeping love theme has been accused of deriving too much from Williams’ Hook theme. There’s a similarity, but it’s only one part of the theme, maybe a couple seconds. This lovely theme dominates the soundtrack, just as the cringeworthy romance between Anakin and Padme does. Though it is a love theme, it does swell up fairly often to show that this romance will have ramifications across the entire galaxy.

Kamino: This theme is mis-named. It’s more of a mood-setting motif which sounds mysterious, though much of its appearance is in the Kamino scenes.

Separatists: This simple theme appears towards the end of the first track. It’s low key, probably to emphasize that something manipulative is going on behind the Separatist movement.

And as far as I can tell, that’s it for the actual recurring themes and motifs. But the real problem is how music from Phantom Menace is rehashed. For some reason, Lucas had much of the final battle sequence temped with action cues from that film, even overwriting a large chunk of “The Arena”. There’s also a reprise of the Trade Federation march which doesn’t make sense, as it’s used for a scene showcasing the Republic’s clone troopers. Thankfully, aside from the Trade Federation march, Williams only puts his original work on the album.

This is the first Star Wars film score in which the music is actually arranged chronologically on its original release. The first track, “Main Title and Ambush”, features once again the opening crawl and the Kamino and Separatist motifs. After “Across the Stars” plays, it’s on to “Zam the Assassin and the Chase through Coruscant”, which runs over eleven minutes long. It starts off eerie and suspenseful, but once the action starts and it’s a pretty frenetic cue. The most novel thing about it is the actual use of electric guitars at a couple points for the seedy side of Coruscant.

“Yoda and the Younglings” (just call them children!) is a decent track which features Yoda’s theme and some wondrous choir. The love theme starts to get its references in “Departing Coruscant” and “Anakin and Padme”. “Jango’s Escape” is a so-so action piece which doesn’t really feature any themes.

“The Meadow Picnic” is a pretty neat romance track, featuring a playful tune before going into “Across the Stars”.

“Bounty Hunter’s Pursuit” opens with a pretty nice perilous tune before dying down into some music from Anakin and Padme’s story. “Return to Tatooine” features the Kamino motif before the Force theme appears. “Duel of the Fates” makes a token appearance here thanks to its popularity, leading into a bunch of sneaking-around music. The first couple minutes of “Tusken Camp and the Homestead” is a definite highlight, featuring Shmi’s motif one last time before Anakin’s anger grows, leading to Vader’s theme.

Alongside “Across the Stars”, “Love Pledge and the Arena” is the other popular track from this album. It starts off with the love theme, which swells as the heroes are led into the bright arena. The rest of the track is dominated by a new march somewhat reminiscent of the Trade Federation theme. I wouldn’t call it a theme, as it only plays during this scene, but it’s a great action melody.

“Confrontation with Count Dooku and Finale” is a little misnamed, since the admittedly not-that-interesting music from the actual confrontation is not here. Starting with a racing choir and the Force theme, the track descends into an eerie rendition of the Emperor’s theme. A little later there is an awesome reprise of the Imperial March and then “Across the Stars” before the end credits statement of Luke’s theme rolls. The end credits suite is basically “Across the Stars” until the end, when Anakin’s theme reappears, this time growing darker and more somber in the part that references Vader’s theme. In the film this led to the sound of Vader’s breathing and was actually pretty creepy.

If you bought the album from Target, you got an exclusive bonus track, called “On the Conveyor Belt”. From the Chicken Run scene, this music is a pretty decent action cue which has a reprise of the Force theme in it. The climax was used in the character-based TV spots from around the time of the film’s release.

I think I like this more than Phantom Menace. While it would have been nice for Williams to create a couple more themes and even reference more from the previous four films, the album flows much more smoothly and the love theme really ties it together.

Final Rating: 8/10

Track Listing

  1. Main Title and Ambush (3:46) 6/10
  2. Across the Stars (5:33) 10/10
  3. Zam the Assassin and the Chase through Coruscant (11:07) 7/10
  4. Yoda and the Younglings (3:55) 6/10
  5. Departing Coruscant (1:44) 6/10
  6. Anakin and Padme (3:57) 7/10
  7. Jango’s Escape (3:48) 5/10
  8. The Meadow Picnic (4:14) 7/10
  9. Bounty Hunter’s Pursuit (3:23) 6/10
  10. Return to Tatooine (6:57) 7/10
  11. The Tusken Camp and the Homestead (5:54) 6/10
  12. Love Pledge and the Arena (8:29) 8/10
  13. Confrontation with Count Dooku and Finale (10:45) 10/10
  14. On the Conveyor Belt (3:02) 6/10

Soundtrack Review: The Phantom Menace

The Phantom Menace ost.jpg

The long-awaited prequels started to hit theaters in 1999 and immediately fans were hit with great disappointment. The charm of the original trilogy is missing from Phantom Menace, which suffers from a confusing and boring plot about trade and taxation, Jar Jar Binks, and characters that are just not interesting. The question for the next several reviews is: did John Williams new scores fail to live up to the originals as well?

First here are the new themes that Williams created.

Anakin: This innocent theme is for the child version of Anakin, only resurfacing once in the next two installments. It’s pretty good, and the best part is that the end references a piece of Vader’s theme without sounding villainous. It gets its own concert arrangement.

Darth Maul: Darth Maul gets a whispery Sanskrit chant which can actually get pretty creepy.

Duel of the Fates: The most popular theme from prequels, this is a mix of racing notes and grand choral chanting in Sanskrit. It appears in the final act of the film, with the choral bombast occurring during the lightsaber duel. Actually, the prequels were noted for using much more choir. The original trilogy had the low male voices for the Emperor and that was about it.

Jar Jar Binks: This is a goofy, comedic motif which is okay, but I’m not excited when it comes on. It does suffer from being associated with such an awful character. It is appropriately introduced in “Jar Jar’s Introduction”.

Qui-Gon Jinn: Liam Neeson’s Qui-Gon gets a very noble theme which doesn’t appear too much, and not even on the original album release.

Shmi: Shmi has her own little motif. It’s mot notable appearance is in “Anakin is Free” on the two-disc set.

Trade Federation: The Trade Federation gets its own military march, showcased in “Droid Invasion”. It doesn’t appear a lot, but when it does it’s pretty awesome. It’s kind of sad that such an awesome theme accompanies the worst foot soldiers of Star Wars.

People were curious which themes would return from the original trilogy. The Main Theme graces the opening crawl and end credits per tradition, but otherwise gets just one brief statement in “Panaka and the Queen’s Protectors”. The Force theme appears much more often, as it’s a concept very much at the forefront of the prequels. Yoda and Darth Vader’s themes are referenced in “The High Council Meeting”. The Emperor’s theme appears too in scenes with Darth Sidious, who obviously is Palpatine in Sith guise.

One-Disc Release

The Phantom Menace soundtrack was released with over seventy minutes of score. Williams decided to release in what is a called a concert suite form. Basically, the music is not arranged as it is in the film and in many places two or three cues are spliced together. For some listeners this can get frustrating, wondering why the Trade Federation theme bookends the music from the fish chase scene or bits of Sanskrit chanting appears to slow down action cues. I find some of the edits to be a little annoying, as it makes the presentation feel jumbled at times, but in general this is a good listening experience. The only missing highlight is “Anakin is Free”.

Things kick off with the opening crawl and some stately music from the arrival on Coruscant scene, though it’s incorrectly titled “Arrival at Naboo”. Following are the concert arrangements of Duel of the Fates and Anakin’s Theme. Track five, “Sith Spacecraft and Droid Battle”, is an interesting highlight. It starts with sinister chanting and ominous percussion before breaking out into all-out action. If you listen closely you can hear that it’s a variation on Darth Vader’s theme!

The standout moments of the next few tracks are the pompous “Flag Parade” and the sinister “He is the Chosen One”. There’s not much else of note until track thirteen, “Panaka and the Queen’s Protectors”. This is rousing heroic piece which suddenly slows down towards the end with some slow percussion before picking up again for the finale.

After the aforementioned “Droid Invasion” is “Qui-Gon’s Noble End”, which kicks off with action music from a way earlier scene. After some haunting usage of Darth Maul’s motif a tragic rendition of Duel of the Fates breaks out. “Funeral” showcases yet another Sanskrit choir, this one a very mournful tune which would make a return for the ending of Revenge of the Sith.

The last track is “Augie’s Municipal Band”, which is actually an upbeat and happy version of the Emperor’s theme! This is largely accomplished by changing the last note to make it more uplifting, as well as children chanting in lieu of a sinister male chorus. The end credits is basically tracks 2 and 3 pasted together.

Overall, Phantom Menace, like most John Williams scores, has a lot of great music. But there’s actually quite a bit I don’t find interesting. Queen Amidala and Naboo Palace” isn’t terrible, but it’s not a track you’re going to go back to a lot. A lot of the action tracks not from the last act don’t have much in the way of references to themes and motifs, something which was always a great strength in the original trilogy. I think another problem that I have personally is that my impressions of a film can reflect on its score. When I hear music from Empire Strikes Back, I think about that movie’s wonderful moments. When I listen to this soundtrack, I think of a lot of bad and underwhelming moments. I just can’t get the same thrill I do with the original scores.

So does John Williams disappoint? He does maybe a little bit, but his music is still one of the few genuinely great things about the prequels,

Rating: 8/10

Two-Disc Ultimate Edition

Just a year later the Phantom Menace received a two-disc release, and is the only prequel score to have gotten one. It’s completely in chronological order and if there’s any music you wanted on the original release that wasn’t there, it’s here. “Anakin is Free” is the best one. It starts with Qui-Gon’s theme before a few minutes of amazing emotional music and then a statement of the Force theme. One little cue I really like is “Darth Sidious and Dart Maul”, which kicks off with an evil fanfare before going into the Emperor’s theme.

Listening to this album can actually be a little jarring during the final battle sequences, as they were re-edited in post production, meaning the music goes all over the place. Many of the tracks are also really short, making it hard to keep up with what track you’re on.

I think I actually prefer the original release. Some of the concert arrangements flow much better.

Rating: 7/10

Track Listing for One-Disc Release

  1. Main Title and the Arrival at Naboo (2:55) 6/10
  2. Duel of the Fates (4:14) 10/10
  3. Anakin’s Theme (3:05) 10/10
  4. Jar Jar’s Introduction and the Swim to Otoh Gunga (5:07) 6/10
  5. The Sith Spacecraft and the Droid Battle (2:37) 8/10
  6. The Trip to the Naboo Temple and the Audience with Boss Nass (4:07) 5/10
  7. The Arrival at Tatooine and the Flag Parade (4:04) 7/10
  8. He is the Chosen One (3:53) 8/10
  9. Anakin Defeats Sebulba (4:24) 7/10
  10. Passage through the Planet Core (4:40) 6/10
  11. Watto’s Deal and Kids at Play (4:57) 6/10
  12. Panaka and the Queen’s Protectors (3:24) 8/10
  13. Queen Amidala and the Naboo Palace (4:51) 4/10
  14. The Droid Invasion and the Appearance of Darth Maul (5:14) 7/10
  15. Qui-Gon’s Noble End (3:48) 8/10
  16. The High Council Meeting and Qui-Gon’s Funeral (3:09) 8/10
  17. Augie’s Great Municipal Band and End Credits (9:37) 8/10

Soundtrack Review: Shadows of the Empire

Composed and conducted by: Joel McNeely

In the mid-1990s, Star Wars fandom was experiencing a large revival, with hundreds of new action figures, many new video games, and a whole new expanded universe in the form of novels and comics. George Lucas, who by now had become the marketing-obsessed man who would torment us with an inferior prequel trilogy, decided to pick a book and treat it like a movie. This would mean for a written novel there would be toys, a video game, a comic book adaptation, a making-of book, and, most unusually, a soundtrack!

That’s right. A soundtrack would be created for a movie that didn’t exist. Unfortunately, instead of choosing the superb Thrawn trilogy by Timothy Zahn, Lucas picked Shadows of the Empire, which takes place between Empire Strikes Back and Return of the Jedi. I guess the the fact that Darth Vader was still alive in said novel probably helped it. The multimedia event would ensure that this book became one of the most highly praised among fans, particularly nostalgic ones that played the video game. Actually, the novel is pretty decent, with a good story, but some issues when it comes to how it is written.

Joel McNeely, who had scored the Young Indiana Jones series, was chosen to do the soundtrack. He found himself with virtually no limitations, other than the amount of music he could create (around fifty minutes). The result is a surprisingly eclectic, although fairly thematically driven score.

John Williams’ themes would only grace three of the tracks, but new ones would be created. The first track is completely credited to John Williams, as it is the famous Main Title and a re-orchestrated section of the carbon-freezing music from Empire Strikes Back. The only original material here is a slowly descending motif that bridges these two pieces together. The same motif crops up in a couple of other places.

The new material goes full force with “The Battle of Gall”. The first half features the descending motif in its longest appearance, followed by a brief action outburst, some jaunty battle preparation music, and a Rebel hymn. The second half is exciting, but doesn’t match up to Williams, especially since it lacks the battling themes of the maestro’s cinematic scores.

“Imperial City” is one of the best tracks on the whole album. The cue is for a scene that would never be put into a movie due to its length. As we approach the city planet of Coruscant, things start off quietly with light piano music, the planet just a tiny speck. As we start to get into the clouds, some fanfares break out, and when the city is revealed in all its glory the music becomes an Olympic-style fanfare. The music somewhat subsides for a bit, but breaks out into more fanfares at the end before trailing off the way it began. This is a fantastic cue, although it is very hard to hear the opening notes.

“Beggar Canyon Chase” is more Indiana Jonesesque than Star Wars, but does end heroically with what is, according to the liner notes, supposed to be a “brief iteration of Dash’s theme”.  As far as I can tell, no such theme exists anywhere else on the album. “Southern Underground” gives us a new recurring theme, but what it is for I have no idea.

McNeely’s crowning achievement is his new master villain theme for the horny, reptilian Prince Xizor, showcased in track six. There’s a lot of dissonance here to represent his criminal and two-sided character, but it’s all worth it for the last minute and a half, a full percussion-backed march of evil which presents his theme three times. This is the most obvious and popular of McNeely’s Star Wars themes, in large part thanks to its presence in the video game’s final levels.

“The Seduction of Princess Leia” is an interesting waltz that I think deviates a little too much from the Star Wars style. “Night Skies” is a dramatic cue that obviously deserves a spot among my highlight cues. It features Xizor and Vader’s themes as they contemplate their schemes. The best moment however is supposed to occur when Vader reaches out to Luke Skywalker, prompting a grand version of the Force theme which surpasses even Williams’ “Light of the Force”.

After the underwhelming “Into the Sewers”, McNeely lets loose with a ten-minute finale which features most of his new themes. It’s full of choral crescendos, which seems to give a hint at the more prevalent use of choir in the prequel trilogy, and some bold statements of Xizor’s theme. The most interesting part is when Xizor and Vader’s themes actually weave around each other, with the dark lord’s fanfare winning out in the end. The Rebel hymn and a brief reiteration of “The Imperial City” give the album a grand satisfactory closing.

Personally, I would have liked it if more money was invested into this project, if only to create an actual end credits suite which is customary for Star Wars films. Some editing software could create such a track using the usual closing credits opening, “Southern Underground”, and the finale of “Xizor’s Theme”.

Shadows of the Empire is a unique soundtrack, and is actually quite good although McNeely really should have used his themes more often. I actually find this album almost as good as the prequel scores, which likewise could have used some of their new themes more. Surprisingly, this soundtrack is still easily available online, so listen to the music samples to make sure you want it and then buy it.

Rating: 7/10

Track Listing

  1. Main Theme from Star Wars and Leia’s Nightmare (3:41) 6/10
  2. The Battle of Gall (7:59) 7/10
  3. Imperial City (8:02) 8/10
  4. Beggar’s Canyon Chase (2:56) 6/10
  5. The Southern Underground (1:48) 6/10
  6. Xizor’s Theme (4:35) 8/10
  7. The Seduction of Princess Leia (3:38) 7/10
  8. Night Skies (4:17) 10/10
  9. Into the Sewers (2:55) 5/10
  10. The Destruction of Xizor’s Palace (10:44) 8/10

Soundtrack Review: Return of the Jedi

The third installment of the original Star Wars trilogy, Return of the Jedi is in my opinion the weakest of the three, showing the first signs of George Lucas’ loss of talent. We are treated with laughable characters such as Jabba the Hutt, cutesy antics by the Ewoks, and some rushed plot twists (such as Leia being Luke’s sister). However, while the music too is down a notch, John Williams still delivers an amazing score and a fitting end for the series musically. Here I will review the original record album and the two-disc set, since those are the two versions I’ve listened to. But first, the themes.

Emperor: This is my favorite of the ROTJ themes, an evil piece that stands out because it often uses a choir (unusual in the original trilogy). It perfectly captures the dark evil of the Sith and is featured heavily in “The Emperor’s Throne Room”. This theme is one of the reasons why the Luke-Vader-Emperor scenes in the film were among the best.

Ewoks: The Ewoks get a playful two-part light-hearted theme showcased in “Parade of the Ewoks”. It’s a little too jolly compared to the other great themes of the previous films, but is an inevitable result of the silliness of Return of the Jedi. The Ewoks also get strange percussion at many points, most noticeably in “Ewok Ambush”.

Jabba: Obese crime-slug Jabba the Hutt gets perhaps the most chuckle-inducing theme of any Star Wars character. To portray his massive bulk and obesity, John Williams utilizes a tuba, which would be considered woefully inappropriate if the character had been human. There’s actually a Jabba the Hutt suite on one of the trilogy compilations, which ends with random notes of the tuba!

Luke and Leia: This is the one theme from this movie that gets the most treatment on John Williams compilations. It is a good emotional piece which doesn’t appear too much, but always makes the most of its appearances. It is showcased in the track of the same name.

Record Album

If this was the only version of the soundtrack available to me, I would have been very disappointed. The first two soundtracks were released when there was about thirty-five to forty minutes available on each record. Knowing that such a running time would do no justice to Williams’ music, the famed composer and George Lucas put in two records, totaling about seventy-two minutes for each of the films. Unfortunately, by the time Return of the Jedi was released records could hold forty-five minutes of music (as could the first CDs) and since it would have cost a ton of money to put in ninety minutes of music, a shorter soundtrack was produced.

Gone is the cue-by-cue analysis by John Williams (which were included with the first two) and gone is the enjoyment of seeing the various themes interweave throughout the score, as there is just not enough time and the concert arrangements provide even less room for what you actually hear in the movie. The first track is “Main Title (The Story Continues)”, a wholly appropriate opener. It features the obligatory Star Wars main theme followed by a sinister cue as Vader’s shuttle approaches the second Death Star, climaxing in the Imperial March.

“Into the Trap” definitely should have been put on, since it is a great suspense cue with several of the themes making brief statements. I should also mention that it sounds very much like some of the Indiana Jones music, which is understandable with it being the same composer. “Luke and Leia” introduces the new emotional theme of the movie.

“Parade of the Ewoks” is a concert suite for the Ewok theme. It’s a bit too goofy (but then again, so was the movie) and is one cue that should have been partly made up of actual music from the film, since most of it is already present in the end credits. “Han Solo Returns (at the Court of Jabba the Hutt)” features a bit of eerie suspense music before a short rendition of the Han and Leia love theme. It then segues into a short concert version of Jabba’s theme, a laughable piece performed with a tuba to represent his fat bulk. Side one of the record album ends with the ridiculous “Lapti Nek (Jedi Rocks)”, which is actually a song about working out (very 80s). I don’t like it, but it has to be on the soundtrack since they bothered writing the lyrics and hiring the singer.

Side two begins with “The Forest Battle”, another concert piece which takes up time that could have been used for actual music in the film. However, it is still an awesome track and features a very exciting ending. “Rebel Briefing” (somewhat mislabeled) is a good emotional piece featuring Luke and Leia’s theme and the Force theme from near the end of the movie. “The Emperor”, another excellent piece, features the music from the scene where Vader redeems himself. It’s disappointing that the Emperor’s theme only gets played once, since it’s the best theme introduced for the film. “Return of the Jedi”, the cue from the sail barge battle, features renditions of music from A New Hope, plus a brief appearance by Jabba’s theme.

“Finale” features the anti-climatic Ewok singing from the original version of the film, plus the typical end credits suite. Overall, the record album has good music, but it’s too short. Personally, I would have loved less concert suites and more music from the actually movie, especially since two of the tracks are in the end credits suite anyways.

Rating: 5/10

Two-Disc Set

Return of the Jedi received several re-releases, including a Charles Gerhardt re-recording and an expanded one-disc release with a more chronologically correct track sequence. However, in 1997 RCA finally graced us with a two-disc complete score set, which has been re-released in 2004 by Sony. Now the complexity of Williams’ music can be seen in all of its grandeur. It should be noted that this release fits the special edition, and so has replacements for Lapti Nek (this time we have “Jedi Rocks”, a far less ridiculous song) and the Ewok song at the end (we now have a more dramatic and emotional finish, sadly without any of the themes in it).

Compared to the other films’ complete scores however, Return of the Jedi isn’t as consistently great and engaging. The first disc covers the Jabba storyline and all of the events preceding Luke turning himself in to the Empire. The scenes for Jabba’s palace are given low uninteresting underscore, often synthesized, and it can become a pain to wait for the good moments. These “moments” include Han and Leia’s reunion and “Den of the Rancor”, perhaps the best original action cue on the first disc. Things get more energetic with “Sail Barge Assault” which is basically “Return of the Jedi” from earlier releases.

“The Emperor Arrives” introduces the Emperor’s theme and the most purely evil rendition of the Imperial March ever. On the same track are “The Death of Yoda” and “Obi-Wan’s Revelation”, which include some good renditions of the Force theme. “Shuttle Tydirium Approaches Endor” has a cool moment when a dark choir drones on, leading into a brief bit of triumph interrupted by the Imperial March. The Ewok material comes to the forefront in sometimes meandering cues. One interesting track is “Threepio’s Bedtime Story”, in which Williams provides a goofy rehash of the trilogy’s main themes with Ewok instrumentation.

Disc one ends with three bonus cues. The first is “Jabba’s Baroque Recital”, a so-so piece of source music. “Jedi Rocks” is the new song for the special edition, complete with the furry creature Yuzzum’s salivating yell and Sy Snootle’s “oops”. “Sail Barge Assault (Alternate)” is the original music for the scene, which has an unused action motif and music that was later incorporated into “Ewok Battle”.

Disc two is an improvement over the first one, reaching the heights of The Empire Strikes Back. It starts off with “Parade of the Ewoks” and “Luke and Leia”. After “The Emperor’s Throne Room” we are given all thirty-two minutes of the Battle of Endor. “The Battle of Endor I” begins with “Into the Trap” before the music subsides. It then breaks out into wild percussion and the Ewok theme as the action begins in earnest. The amount of themes, motifs, and tempos being thrown around in this cue is mind-boggling and shows why the original trilogy scores were so great.

“The Battle of Endor II” isn’t quite as good, but it has the highlights from the Luke-Vader-Emperor scenes. When Luke lashes out at Vader with the Dark Side, John Williams gives us a super-dramatic choral moment that tells us that the battle is coming to a close. The highlights of “The Battle of Endor III” include “Darth Vader’s Death”, a slow somber version of the Imperial March, and rehashing of “A New Hope” music, another sign that the trilogy is coming to a close.

Williams gives the Force theme gets its most dramatic film moment in “Light of the Force” before the finale and end credits. But it’s not over yet. Ewok source music is featured in “Ewok Feast/Part of the Tribe” and in a fitting end to all of the two-disc soundtracks, “The Forest Battle” concert suite closes the album.

Return of the Jedi falls short of the other two mainly because of some goofy moments and the boring underscore in the Jabba’s Palace scenes. However, it’s hard to complain when you have all the music you could possibly want (okay, so they didn’t put in that little band tune from Jabba’s Sail Barge) and the second disc is amazing.

Rating: 9/10

Soundtrack Review: Empire Strikes Back

Here it is, my all-time favorite musical score ever composed for film! Not only does it accompany my favorite Star Wars movie, it also has the greatest assembly of themes and motifs. For its time The Empire Strikes Back was a surprisingly dark film for an action-adventure and the music by legend John Williams follows suit, especially in the second half. Following are the new additions in what is the greatest assembly of themes ever devised by John Williams.

Bounty Hunters: The bounty hunters actually have a very brief motif. It is low and ominous and usually appears with Bob Fett, an example being when he is tracking the Millennium Falcon.

Cloud City: Cloud City gets a stately theme for when Lando is leading his friends throughout his city. It is featured most heavily in “Lando’s Palace”, but only appears briefly afterwards.

Droids: Not as identifiable as most other themes in the series, this light-hearted piece accompanies C-3PO and R2-D2 in the more comedic moments of the film. It is sometimes played briefly during suspense cues like “Hyperspace” and actually made a short appearance in Return of the Jedi (though I suspect it was unintentional since it appeared while the Ewoks were fighting).

Han and Leia: This is what I call a love theme! Introduced near the beginning, it is a lovely piece that unfortunately never got a concert suite by John Williams, although several other composers have tried their hand at it. In my opinion this is the best love theme Williams ever composed, cemented by its swelling version in “The Carbon Freezing Chamber”.

Imperial March (Darth Vader): The Imperial March is actually a better name for the concert suite, since the theme doesn’t’ always appear as a march. Darth Vader’s theme is in my opinion the greatest villain theme ever composed. It always impresses with either its sheer orchestral power or its effective placement in the underscore. It is often heard barging in loudly at the end of cues as the scene switches to the star destroyers. The Imperial March is the second most remembered theme from Star Wars, maybe because it’s associated with such an iconic villain. It should be noted that in earlier cuts of the movie many of the statements were replaced by bits of the concert suite, but restored in later editions.

Yoda: For the small green Yoda, John Williams has created a noble and calm theme which conveys the character’s wisdom. This doesn’t stop it from soaring to grand heights at key moments, however, like when Yoda pulls out Luke’s swamped up X-Wing (“Yoda and the Force”). It’s a very good theme, but I think it pales a little in comparison to the other two major themes,

Record Album

In contrast to the original album release of A New Hope, The Empire Strikes Back receives a very jumbled presentation. In an attempt to create more of a concert experience, John Williams often splices together up two or three different pieces of music, sometimes succeeding and sometimes failing. I have to say that this is not how I would have done things, but it is passable and is much better than some of his other out-of-order soundtracks.

Some of the splicing and changes made to the music for the record sound a tad too abrupt, but this is due to the lack of more recent technology, not to mention that hearing the complete score in chronological order makes these changes much more noticeable.

Yoda and Darth Vader get their own theme suites while the love theme is interrupted by the Imperial March in “Han Solo and the Princess”. “The Heroics of Luke and Han” mix together several pieces of music in a somewhat jumbled suite. One interesting cue is the ending of “Departure of Boba Fett”, which is music that was excised from the film to create a darker effect. Originally used for Luke and Vader’s duel in the carbon-freezing chamber, this cue is a rousing variation of Yoda’s theme which concludes with a short statement of Luke’s theme.

Thankfully the major action cues don’t get edited down for the record album. “Hyperspace” shows Williams’ genius, utilizing a motif that continually plays, but never finishes until our heroes finally escape the Empire. “Battle in the Snow” features bombastic clanging and brass to symbolize the invincible assault of the four-legged walkers on Hoth. “The Asteroid Field” is a widely popular cue featuring racing strings and grand fanfares before ending in a calm rendition of the love theme. One of the best tracks is “Clash of the Lightsabers”. It starts eerily before building into the most perilous variation of the Imperial March. The rest of the action music climaxes in a dramatic version of the love theme.

Perhaps my biggest complaint about the original release is the exclusion of the music which accompanies Han being frozen in carbonite, my favorite film score cue of all time. It would not get released until the early 90s. Overall, the original album is for the most part satisfying, but weak compared to the two-disc release

Rating: 8/10

The score also received a shorter release on CD. This album clocked in at just over forty minutes and while it does have most of the highlights, it’s horribly out of order, with the main title and opening put in the middle and “Battle in the Snow” at the end.

After this horrendously produced album, Empire Strikes Back would see several of its unreleased cues presented on the fourth disc of a 1994 re-release of the Star Wars scores, including “Carbon-Freezing”.

Two-Disc Version

The Empire Strikes Back finally received a complete two-disc release in 1997, along with the other two original Star Wars films. Of the three two-disc sets, it is the least chronological since the original music excised from the film is put back in. One example is the two versions of “Imperial Probe”. On the original album it’s a fast-paced cue with an early iteration of Darth Vader’s theme. Perhaps seeing that the music was too fast and racing for the scene, Williams replaced it with a slower and eerier cue in the film version. The complete album retains the pre-film opening, with the film version being moved forward to “The Imperial Probe/Aboard the Executor”. This track itself features variations of the Imperial March that were replaced by part of the concert suite in the final film.

This release is what made The Empire Strikes Back my favorite film score of all time. All two hours of the music is now available in all its glory and thematic complexity. Some wonderful cues not heard on the original release is an action cue accompanying the Millennium Falcon’s escape from the Asteroid Field and the Cloud City theme being cut off by the Imperial March as most of the heroes fall into a trap. “The Battle of Hoth” is a long fifteen-minute piece featuring “Battle in the Snow” and a wealth of new music, including an aggressive clanging piece as a walker leg smashes Luke’s snowspeeder.

“The Carbon Freezing Chamber” is my favorite part of the soundtrack, featuring a swelling version of Han and Leia’s theme before it is shoved out of the way by a villainous fanfare and the Imperial March. It is immediately followed by a short ominous piece that for some reason I find to be very good.

There are a few moments from the Dagobah scenes that aren’t too interesting, but they don’t last too long and the rest of the music more than makes up for it.

The Empire Strikes Back has the best villain theme, one of the best love themes, excellent integration of both old and new music, and superb action cues. If you must have one film score in your collection, this is it.

Rating: 10/10

Soundtrack Review: Star Wars

Everyone’s excited for the new Star Wars movie. As a soundtrack fan, I’m really looking forward to John Williams’ next musical installment. In anticipation I’m reviewing all six Star Wars movie scores, as well as an interesting entry from the expanded Universe

I don’t really need to say much about the start of the Star Wars franchise, since it’s pretty much common knowledge. It’s also commonly accepted that John Williams made grand, orchestral soundtracks popular again with his amazing well-known score for A New Hope, perhaps the most consistently entertaining and easy-to-listen-to entry in the Star Wars music saga.

Like the film it accompanies, Williams’ music was a throwback to earlier filmmaking. Most science fiction at the time was more serious and often dark in its themes. Star Wars was more of a space fantasy in the vein of Flash Gordon. Likewise, most sci-fi music at this point was electronic, ambient, and experimental. Odd electronic keyboard music wasn’t exactly something the casual moviegoer was going to rush to buy on album, regardless of how well it fit within it’s own movie. Williams went back to an earlier time, reviving the grand thematic work of earlier composers such as Erich Wolfgang Korngold and Max Steiner.

He also shows influences of classical artists such as Richard Wagner and Igor Stravinsky, who would often use motifs when scoring larger pieces of work. “The Desert” sounds like something out of Stravinsky’s “Rite of Spring”, while the bombastic notes following the opening theme are ripped right out of Gustav Holst’s “Mars, Bringer of War”.

One way Star Wars music reflects early Hollywood is its abundance of themes and motifs. Following is a list of those that debuted in A New Hope.

Ben (The Force): This noble theme is perhaps my favorite from this movie. Originally a theme for Ben Kenobi, it became an overall theme for the Jedi and their ways. By becoming the Force theme, it became the only theme from the original trilogy to consistently pop up in the prequels.

Death Star: This simple, short, and effective four-not motif perfectly conveys the monstrous majesty of the Death Star and usually appears at the end of cues (and with shots of the Death Star in the movie). See the end of “Blasting Off”, or “Imperial Cruiser Pursuit” as it’s called on the complete soundtrack.

Jawas: The Jawas have a quirky, playful theme that appears a couple of times, and is not one of the more well-known ones. In concert arrangements and compilation albums it is titled “The Little People Work”. It usually plays as a march, and is a less goofy precursor to “Parade of the Ewoks”.

Imperials: This is what I consider to be the “forgotten” theme of Star Wars. There was no Imperial March in A New Hope. Instead there was an ominous often low-toned piece used to underscore Darth Vader and the stormtroopers, most commonly heard in the Death Star chase sequences and “Imperial Attack”. It’s a good theme, but nowhere near as awesome as the Imperial March.

Leia: Though not a love theme (unless you count a possible crush on Leia by Luke, there is actually no romantic subplot in the first movie), it still sounds like one. Princess Leia’s theme is one of my favorites of all the Star Wars themes and was the first to get a concert suite treatment. Simply beautiful. Unfortunately it’s appearances start to get sparse by Return of the Jedi.

Luke (Main Theme): The popular main theme which always plays over the opening text crawl is perhaps the best known movie theme of all time. It is actually supposed to be Luke’s own theme, and is usually used as such by John Williams, not playing after the main title until Luke actually first appears. Likewise, it rarely comes up after the opening crawls in the prequels, getting thrown in occasionally since it’s so associated with the franchise. Personally I sometimes get a little tired of having to sit through the same exact opening music every time I pop in a Star Wars score or watch some parody online.

Rebels: The Rebels get their own swashbuckling fanfare heard in heroic moments throughout the film. Despite being easy to weave into the action, this fanfare would not play as large a role in the sequels

Record Album

A New Hope benefits from having the best original album release of the three films. It starts off with the concert arrangement of the Star Wars theme, with the opening and ending music pasted together. In fact, many of the tracks are two cues put together. While out of order chronologically, the arrangement of music is still near perfect, my only complaint being that “The Battle of Yavin” has its militaristic opening replaced with cues from when the heroes are sneaking around the Death Star.

Side one contains the aforementioned Star Wars suite, “Imperial Attack”, Princess Leia’s gorgeous theme suite, and “The Droid Auction”, which starts off with a Stravinsky-style piece. Side two features “Ben’s Death and Tie Fighter Attack”, noted for the surprisingly effective use of Leia’s theme to accompany Ben getting killed by Vader. This music segues into a heroic swashbuckling piece with the Rebel fanfare, one of the most exciting musical pieces I’ve ever heard. “The Little People Work” showcases the Jawas’ theme while “Inner City” features an ominous build-up as our heroes enter the Death Star.

Williams also has two pieces of source music for the cantina scene. The one that gets onto the original album is simply titled “Cantina Band”, a catchy, jazzy tune known for getting stuck in listeners’ heads. Despite jokes that the Modal Nodes (the band in the movie) only know one song, they actually have a longer piece of music present on later releases that is not as fast, but still pretty awesome.

Side three starts off with savage percussion in “Land of the Sandpeople”. “The Mouse Robot and Blasting Off” features a suspense cue and the music accompanying the Millennium Falcon’s escape from Tatooine. “The Burning Homestead” is one of the best emotional tracks, starting with mournful horn music, segueing into an urgent rendition of the Force theme, and swelling into further tragedy before the Death Star motif interrupts.

Side Four contains the epic music for the Battle of Yavin, perhaps the greatest action cue of seventies film music (which actually isn’t saying much). It’s so epic and bombastic that it sometimes leaves me mentally exhausted listening to it. I can only imagine how it would have gone if Williams had scored the entire final battle sequence. “Throne Room and End Title” features a heroic march accompanied by the Force/Ben theme and once again the end credits.

A New Hope benefits the most on its original record release, probably because there’s only about fifteen to twenty minutes of music missing as opposed to over fifty for The Empire Strikes Back or two hours for Return of the Jedi. Overall, an awesome masterpiece by John Williams!

Rating: 10/10

Two-Disc Set

Experiencing more chronologically correct re-releases over the years, A New Hope finally got a two-disc release in 1997. Aside from being in chronological order, the missing music is brought back. Among them is the other piece played by the Cantina Band, “Mos Eisley”, “Tales of a Jedi Knight/Learn the Force”, and the militaristic build-up in “The Battle of Yavin”, not to mention all sorts of bits cut out to weld two cues on the original release. “Destruction of Alderaan”, a great short doomsday cue, is my favorite addition.

The ending of the first disc proves to be interesting, with an alternate cue for the binary sunset scene and a “hidden” fourteen minutes of main title recordings, including the first one ever. This two-disc set never lets up, with even the more low-key tracks being thematically rich and entertaining.

Overall Rating: 10/10

This is also the only Star Wars score to win an Academy Award for Best Original Score. More impressive was that it was competing against another John Williams soundtrack, Close Encounters of the Third Kind. If you look at the list of nominees for best originals core over the years, John Williams constantly gets a split vote because, being so awesome, he gets two of his scores nominated in a single year.