"The Adventures Of Han" Music Composed & Conducted by John Williams
Han Solo Theme & Original Star Wars Music by John Williams Score Composed & Adapted by John Powell
Score Produced by John Powell Additional Music & Arrangements by Batu Sener, Anthony Willis & Paul Mounsey Supervising Orchestrator: John Ashton Thomas Orchestrations by Geoff Lawson, Tommy Laurence, Andrew Kinney, Randy Kerber, Rick Giovinazzo & Gavin Greenaway Music Editors: Jack Dolman & Ryan Rubin Score Recorded & Mixed by Shawn Murphy Additional Engineering by Jake Jackson & Nick Wollage Additional Mixing by John Traunwieser Mix Assistant: Gordon Davidson Scoring Editor: David Channing Digital Score Recordist: Erik Swanson Vocal Contractor: Edie Lehmann Boddicker Solo Vocals by Bakara May Music Preparation by Mark Graham, Gregory Jamrok & Dave Hage Score Recorded at Abbey Road Studios, London, UK
Stage Recordists: John Barrett, Stefano Civetta & George Oulton Score Mixed at 5 Cat Studios, Los Angeles, CA
"The Adventures Of Han" Recorded at The Newman Scoring Stage, 20th Century Fox Studios, Los Angeles, CA
Assistant Music Editor: Nate Underkuffler Score Production Assistant: Soya Soo
London Orchestra Conducted by Gavin Greenaway Leader: Emlyn Singleton Contractor: Lucy Whalley for Isobel Griffiths Ltd.
Los Angeles Orchestra Contractor: Sandy DeCrescent Concertmaster: Roger Wilkie
Choir Vanya Moneva Women's Choir Conducted by Vanya Moneva Sofia Session Choir Conducted by George Strezov Stage Recordist: Plamen Penchev Librarian: Alexander Kostov Session Production: Georgi Elenkov Booking Coordinator: Yuliyan Stoyanov Contracted by Boris Radilov, Georgi Elenkov, Delyan Koley & Nadya Pavlova (Four For Music Ltd.)
Session Assistants: Lyubomir Denev Jr., Simeon Edward, Kiril Georgiev, Danail Ivanov & Nikolay Pelitev
Music Editor for John Williams: Ramiro Belgardt Scoring Editor for "The Adventures Of Han": Robert Wolff Album Mastered by Patricia Sullivan at Bernie Grundman Mastering, Hollywood, CA
Executive in Charge of Music & Soundtracks for Walt Disney Studios Motion Pictures Production: Mitchell Leib Music Business & Legal Affairs for Walt Disney Studios Motion Pictures Production: Scott Hotlzman & Marc Shaw
John Powell wishes to thank: Ron Howard, Pietro Scalia, Kathleen Kennedy, Simon Emanuel, Allison Shearmur, George Lucas, Pippa Anderson, Phil Lord, Christopher Miller, Will Allegra, Ryan Rubin, Ramiro Belgardt, Sally Boldt, Chris Rouse, Gavin Greenaway, Herb Spencer, John Ashton Thomas, George Strezov, Reid Bruton, Edie Lehmann Boddicker, Louis King Adeyemi, Ayo Adeyemi, Fletcher Sheridan, Randy Crenshaw, Mark Graham, Gregory Jamrok, Victor Pesavento, Paul Henning, Hans Zimmer, Laura Engel, Richard Craft, Pablo Hidalgo, Neal Scanlan & Team, John Crooks and of course... John Williams!
For Melinda Lerner & Oliver Powell
Joining the most beloved cinematic franchise has been a difficult, never wracking but ultimately rewarding challenge for me. Wonderful filmmakers salved my personal anxieties and constantly inspired me to relax, and enjoy such a great project. But through interaction with John Williams, one of the fundamental reasons for saying yes to this project, I have had a chance to see a true musical genius closer than I ever dreamed.
The unintended consequence of meeting you heroes is, of course that you realise that they are merely human, but that was the staggering truth. He is human and yet writes beyond the realms of man. I have now seen it with my own two eyes and short of "witchcraft," I have no logical explanation.
Understandably, this has been personally and professionally humbling, but with luck it moves me toward becoming a better composer. John has a profound understanding of storytelling with a phenomenal depth of compositional rigour; combine that with the melodic sensibilities of a hit songwriter and it's easy to see why he has inspired me, along with so many others.
Through this album, my hope is to honour the legacy of John Williams along with all the extraordinary talents that have given us the Star Wars canon. And it is dedicated to our great friend, Allison Shearmur. John Powell
Release date : 05/25/2018
The Adventures Of Han (3:47) John Williams
Meet Han (2:18) John Powell
Corellia Chase (3:32) John Powell, Batu Sener
Spaceport (4:05) John Powell
Flying With Chewie (3:28) John Powell
Train Heist (4:46) John Powell
Marauders Arrive (5:13) John Powell
Chicken In The Pot (2:07) John Powell
Is This Seat Taken? (2:34) John Powell
L3 & Millennium Falcon (3:15) John Powell
Lando's Closet (2:11) John Powell, Anthony B. Willis
Mine Mission (4:09) John Powell
Break Out (6:13) John Powell
The Good Guy (5:23) John Powell, Anthony B. Willis
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What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.
Hybrid Soldier
2018-05-23 22:01:05
Hans for Star Wars ?
Never.
Ron probably asked him first and Hans probably was like "JOHN POWELL !!"
Geoffrey
2018-05-27 01:50:53
Why never ? He dislikes the saga or not interested ? I'm curious.
Rogue One was last minute change on Giacchino. I would like to hear Alexandre Desplat score to make a correct analysis from both scores. Besides that and with the little time, Giacchino's score is good, in the same style from maestro Williams. Solo score is more different. Maestro Williams wrote the main theme and more cues, but what make the score different is Powell. He adapts Solo theme, and some of themes the original trilogy, but he puts him own stamp. Definitely is a Star Wars Score but with Powell stamp. Something Giacchino, maybe for the time, did not develop. The film, well, i will watch on DVD.
I think Powell found his niche with this score... Because he's WAY better at apeing Williams than Giacchino could ever be, and with way more energy....
And here Giacchino prides his work on Williams from his origins in video game music...
This blows Giacchino out of the ocean and into the moon. This surprises me, as I expected Giacchino to have such huge hard-on for Williams.
mpolonest123
2018-05-25 03:01:22
To be fair, Giacchino didn’t have much time to work on Rogue One, which explains why certain portions (coughactionmusiccough) fell flat. It’s not a bad score at all, but yeah, John Powell is above and beyond a better composer. His recordings have life and energy, and while most of it still sounds like Powell, he is able to switch into Williams mode so easily.
In defense of Giacchino though, just go listen to Jupiter Ascending if you want a score on the same level as this. The action music is phenomenal, there are at least a dozen solid themes, and the recording doesn’t seem as flat as some of his other scores.
MrZimmerFan
2018-05-25 10:57:40
The action music is flat in Rogue One?, agree if the score isn't as good as Jupiter Ascending, for example, but the action music is BETTER than Spider-Man or Jurassic World.
IMHO
Ds
2018-05-25 11:00:14
"Pan" was also a replacement score, and look at the marvelous Powell score we got... However I don't know how long he had to score it. Certainly a bit more time than what Giacchino got for Rogue One.
MrZimmerFan
2018-05-25 11:06:39
@Ds: i'm not a big fan for Pan, i liked the score, but Powell have MUUUCH better action/fantasy scores.
mpolonest123
2018-05-25 20:00:43
@mrzimmerfan Yeah, I definitely disagree. When I was watching Rogue One in theaters I kept getting taken out of the film because of the music, which isn’t something that I normally pay attention to when I watch movies.
And I know it gets criticized a lot, but I honestly love Jurassic World. The flat recording sound aside, I think it’s an intelligent score that does something new the franchise material while still paying tribute. Even Homecoming has grown on me, particularly Vulture’s theme.
mpolonest123
2018-05-25 20:02:43
As for Pan, I initially wasn’t impressed at all with the music. It took about a year for it to sink in and let me fall in love with the themes.
Kingfannypack is the MILFcommander
2018-05-25 20:24:15
mpolonest123 I’m glad I’m not the only one who enjoys Jurassic World. It think it pays great tribute to John Williams’ groundbreaking work for the JP franchise, but it also had many exciting and creative motifs that made the score stand out in my mind.
MrZimmerFan
2018-05-25 21:36:33
'Yeah, I definitely disagree. When I was watching Rogue One in theaters I kept getting taken out of the film because of the music, which isn’t something that I normally pay attention to when I watch movies. '
The action music in that movie reinforces the tension and epicness of the movie (for example, The Master Switch gives gravitas to the scene and have a nice rendition for the theme of Chirrut's character)
'And I know it gets criticized a lot, but I honestly love Jurassic World. The flat recording sound aside, I think it’s an intelligent score that does something new the franchise material while still paying tribute. Even Homecoming has grown on me, particularly Vulture’s theme.'
Jurassic World, musically speaking, copies the tonal sound from the first Jurassic and dosen't give a memorable theme for the new park (the theme is more a other version from the Williams' theme), dosen't feel fresh to the franchise or inteligent, reverse, copies the tonal aspects from the original music from John Williams. Vulture's theme is a reshash from the Fantastic Four theme from Marco Beltrami and Philip Glass
Iamtommie
2018-05-25 21:46:42
Vulture's theme is The Avengers theme but in lower tones
MrZimmerFan
2018-05-25 22:02:45
Really?, because sounds more like Beltrami than Silvestri
mpolonest123
2018-05-25 22:09:48
@mrzimmerfan
Still have to disagree, I love the new “Park Theme” and the way it sort of takes over from the classic theme. Then you have the Indominus theme, Owen’s theme, the villain theme, the family theme, the source music, etc. I’ll take that any day over Lost World and JP3. Is it as good as the original score? Hell no, but not many scores are.
And I do see the similarities between the vulture theme and those other ones listed. It’s definitely not original, but it is effective.
MrZimmerFan
2018-05-26 16:03:40
Still have to disagree, I love the new “Park Theme” and the way it sort of takes over from the classic theme. Then you have the Indominus theme, Owen’s theme, the villain theme, the family theme, the source music, etc. I’ll take that any day over Lost World and JP3. Is it as good as the original score? Hell no, but not many scores are.'
The Lost World was a coherent evolution in the franchise, Williams maintains the original theme, but creates a darker and more percussive score (listen the expanded version by La La Land), because the movie isn't like Jurassic Park. And i getting appreciate more the Don Davis score for JPIII, better orchestrated than Jurassic World, both scores are FAR better than Jurassic World (one for a coherent and agressive tone and more memorable, and the other because is better orchestrated)
'And I do see the similarities between the vulture theme and those other ones listed. It’s definitely not original, but it is effective.'
I don't see any similaraties with the Avengers theme, effective?, yeah, but not memorable and i'll pick up any day than any theme in Jurassic World
It's funny that when they announced that the star wars story films would be scored by different conposers, I was like... COME ONE JOHNY GET ON IT and sure enough a year later... Same with Pan (one of his best scores in my opinion).
It's really sad how more than half of this score is just very messy bombastic sound rather than a more structured melodic/thematic approach, this coming from a hardcore Powell fan. The saddest thing is that this was THE film for him to score, full of action and chase sequences, which John has always excelled at. Here however, rather than his usual voice, it sounds as if he shies away from it and goes back to anything established by Williams every 30 seconds or so. Whenever it sounds like a cue is leading up to something interesting and exploring a new idea, it just shies away from it. This might have been on the directors/producer's side of things... or that's what I'm choosing to believe, at least. Don't get me wrong, every so often there are some sections that really do shine, this often being when Powell isn't just trying to sound Williamsy and/or referencing old SW material. Maybe I just need to give the album a few more listens. Usually happens whenever a new Powell soundtrack album is released. Not sure, though. Just by listening to Ferdinand a few times, for example, you could really feel and understand the story, its characters and their development, as their themes developed as well. This one is just a mess and feels... off.
Meta
2018-05-26 05:28:30
Well, for starters, the HAN SOLO theme Williams wrote is kind of...well...meh....
And I can see where Powell had to incorporate the original Star Wars and some Empire themes....Asteroid Field being one of them.
I just kinda hoped Powell would adapt Asteroid Field into something more than whatever the hell butchery happened here....
Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)
mpolonest123
2018-05-24 16:40:03
So first impressions:
JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).
The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.
And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.
MrZimmerFan
2018-05-24 19:35:58
'but not as heavily as Rogue One'
Because Rogue One have conections with certain aspects or characters from the OT?
An here you have a track with three themes (or cues) with no conections with the OT, Rogue One have more sense... but the score is fricking awesome :)
mpolonest123
2018-05-24 19:59:02
@MrZimmerFan
I actually like Rogue One, and I do understand why it leans so heavily on the original themes. Here the themes are incorporated more as fan service, but Powell is able to do wonders with interpolating them with his material.
And something I forgot to mention, this score reminds me so much of Pan in the action sequences. The percussion and brass writing is great lol
JBSO99
2018-05-24 21:02:05
"Reminiscent Therapy" is amazing in the way it incorporates a lot of Williams' classic stuff making it feel very natural and organic, like it's part Powell's themes, like he does with "The Adentures of Han".
Anyone else think the credits are too complicated? Why not just have "Han Solo theme by John Williams" and "Score by John Powell"? I know that Powell directly quotes some Williams cues, but I dunno. That's an overly complicated cover, in my opinion.
MrZimmerFan
2018-05-23 16:46:20
Powell adapted ideas from Williams (i think in one interview, he saids the new themes come from tunes by Williams)
Edmund Meinerts
2018-05-24 00:39:56
I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.
What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.
This is all such nitpicking of the highest order :p
superultramegaa
2018-05-24 00:49:10
Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.
Edmund Meinerts
2018-05-24 01:08:07
You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).
A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:
You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.
The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship.
The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.
Edmund Meinerts
2018-05-24 03:28:33
Nazgûl for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.
WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).
Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesn’t really sound like a typical Star Wars movie. Still fans of Powell will love this new score.
JBSO99
2018-05-23 18:44:35
A Star Wars score that sounds like a Powell score? I'm in.
From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.
Sorry about my lack of knowledge on this...but somebody can explain me what means "Additional Music"?.
I know somebody composed the score, sometimes the same person is the arranger or orchestrator (like ussually do John Williams), but "Additional Music"??? I'm lost like always...
MrZimmerFan
2018-05-23 16:45:05
Music providen by additional composers, mean like, diferent version or re-arranged parts from a cue
Han Solo Theme And Original Star Wars Music By JOHN WILLIAMS
Score Composed And Adapted By JOHN POWELL
Additional Music And Arrangements By BATU SENER ANTHONY B. WILLIS PAUL MOUNSEY
Supervising Orchestrator JOHN ASHTON THOMAS
Orchestrated By GEOFF LAWSON TOMMY LAURENCE ANDREW KINNEY RANDY KERBER RICK GIOVINAZZO GAVIN GREENAWAY
Additional Orchestrations By HERBERT W. SPENCER MARK GRAHAM GREGORY JAMROK VICTOR PESAVENTO PAUL HENNING
Music Editors JACK DOLMAN RYAN RUBIN RAMIRO BELGARDT SALLY BOLDT
Orchestra Conducted By GAVIN GREENAWAY
Orchestra Leader EMYLIN SINGLETON
Score Recorded And Mixed By SHAWN MURPHY
Additional Recordings By JAKE JACKSON NICK WOLLAGE
Additional Mixing By JOHN TRAUNWIESER
Mix Assistant GORDON DAVIDSON
Scoring Editor DAVID CHANNING
Digital Score Recordist ERIK SWANSON
Orchestra Contractor LUCY WHALLEY For ISOBEL GRIFFITHS LTD
Choirs ETHNIC BULGARIAN CHOIR "VANYA MONEVA" SOFIA SESSION CHOIR
Choir Contractor GEORGE STREZOV
Vocal Contractor EDIE LEHMANN BODDICKER
Solo Vocals BARAK MAY REID BRUTON
Music Preparation By MARK GRAHAM GREGORY JAMROK DAVE HAGE
Score Recorded At ABBEY ROAD STUDIOS, LONDON
Abbey Road Recordists JOHN BARRETT STEFANO CIVETTA GEORGE OULTON
Score Mixed At 5 CAT STUDIOS, LOS ANGELES
Score Production Assistants NATE UNDERKUFFLER SOYA SOO
Blu
2018-05-23 10:13:49
I am increasingly seeing two separate credits for the orchestration role: one being the usual "Orchestrated By" and the other is this "Additional Orchestrations" credit. I can understand what one might mean by "additional music" but what differentiates these two orchestration roles from one another?
Michael Fields
2018-05-23 10:20:03
I think that credit connected with John Williams's music from the original Star Wars movies. So, Herbert Spencer was the original orchstrator on the first three movies (New Hope, The Empire Strikes Back and Return Of The Jedi). More of that, he's been credited on Rogue One: A Star Wars Story as orchestrator. All other people usually works with John Williams, except Mark Graham, who's heading music preparation in almost every Hollywood movies now (Jo Ann Kane Music Services)
John Powell posted a scene on FB. The clip reprises "The Asteroid Field" from Empire and contains, presumably, the new theme, as well as the main theme and the Rebel fanfare.
DT-2017
2018-05-04 18:04:19
I know people are saying 'This is an RCP score' but, at least from this little bit, it sounds an awful lot like the score will be in keeping with what came before.
I'm saying this as somebody who liked Rogue One, but Rogue One had some clunky musical moments that showed just how little time Giacchino had to score it. This bit seems much more coherent.
Meta
2018-05-05 16:00:00
Hmm...Well...The Asteroid Field was a notable SOLO piece from Empire...Not exactly a theme-theme, but it made for good action scoring...Hopefully he reworks it in this film to be glorious.
MrZimmerFan
2018-05-05 18:30:22
'but Rogue One had some clunky musical moments that showed just how little time Giacchino had to score it'
King Kong has the same time of recording and the score is brilliant.
Kingfannypack is the MILFcommander
2018-05-05 18:42:17
Sure, King Kong was written at a moments notice after Shore departed the project, but that’s James Newton Howard. He’s known for writing great scores and finishing them really fast.
MrZimmerFan
2018-05-05 19:05:10
'He’s known for writing great scores and finishing them really fast'
And compose certain things... there aren't great. Common sense now.
If someome says there is clunky moments that shows the little time score a score in Rogue One, that's really unfair, not only for the quality, Rogue One has great moments in it, if you compare with Jurassic World (more time for recording, the score and is more empty and flat)
Olive
2018-05-05 21:49:40
Powell claims to have written five original themes and other minor ideas.
kingfannypack is the MILFcommander
2018-05-06 08:04:28
Jurassic World flat??? Jurassic World is one of the best Giacchino scores hands DOWN. Go give the score another listen, or go find the recording sessions and listen to that.
MrZimmerFan
2018-05-06 10:30:30
I listen the score four times and find it, very bland, more in the side of Ok than good. Hell, even i have more fun with Spider-Man, even that isn't one of his best. Much better writing are John Carter or The Incredibles.
Edmund Meinerts
2018-05-06 11:26:12
I agree, Jurassic World is average Giacchino. Nowhere near as good as the two you mention, or Jupiter Ascending.
JBSO99
2018-05-06 13:49:53
I must admit that at first I didn't liked Jurassic World, but after giving more listens, it has grown on me a lot. But it's nowhere as near as his score for The Incredibles. That's my favourite of all of his scores.
BTW, about the clip. I really like the return of The Asteroid Field and the new theme sounds nice. But if I understand it correctly is a theme for Chewbacca, as he said in his Facebook post, so I guess the theme Williams compose was for Solo and that's still unheard right? Anyway, it sounds really great and I hope the rest of the score is like that.
DT-2017
2018-05-09 14:00:35
Jurassic World certainly wasn't his best but I quite liked it. I really hope Giacchino develops on it for Fallen Kingdom and turns it into something really good.
Giacchino actually did four scores one after another with no pause in 2016. In order, he did Zootopia, Star Trek Beyond, Doctor Strange and then straight from Doctor Strange onto Rogue One (then straight onto 2017's Spider-Man after that). I get the feeling Giacchino might not cope as well with such a demand. Out of all his scores... man, it's hard to pick between either the original Medal of Honor game score, or Star Trek Beyond... I think Yorktown Theme puts it ahead as my favourite Giacchino.
Back on topic, now that the tracklist is released, I'm looking forward to hearing it. It's interesting that John Williams not only wrote The Adventures of Han Solo but also conducted and recorded it (I'm going to guess with the same orchestra that did The Last Jedi). I can't wait to hear the themes John Powell wrote for this film.
"John Williams himself suggested that John Powell would be a great candidate to not only use the classic Star Wars themes, but also the new theme that John Williams himself wrote for Han Solo. John Powell wrote a lot of great themes, including the first-ever Chewbacca theme." - Ron Howard
1.) The Adventures of Han ( Music Composed and Conducted by John Williams) 2.) Meet Han 3.) Corellia Chase 4.) Spaceport 5.) Flying With Chewie 6.) Train Heist 7.) Marauders Arrive 8.) Chicken In The Pot 9.) Is This Seat Taken? 10.) L3 & Millenium Falcon 11.) Lando's Closet 12.) Mine Mission 13.) Break out 14.) The Good Guy 15.) Reminiscence Therapy 16.) Into The Maw 17.) Savareen Stand-off 18.) Good Thing You Were Listening 19.) Testing Allegiance 20.) Dice & Roll
Will you add the runtime? :)
Edmund Meinerts
2018-05-08 17:28:51
I'm glad there seems to be one track that's 100% Williams. It'll make it easier to figure out where he stops and Powell starts.
Mike (OTM)
2018-05-08 18:06:06
"The Adventures of Han" — classic Williams title, lol.
Mephariel
2018-05-08 19:27:08
LOL, I keep imagining John Williams scoring a Hans Zimmer biopic and naming his main theme "The Adventures of Hans."
I hope this is not a sign of the score as a whole. I am not a fan of a composer focusing on bringing back the past. It is like how Elfman tried to induce nostalgia in Justice League instead of scoring something memorable and new and the score suffered from it.
HunterTech
2018-05-04 19:32:46
Thing is: this is a movie that literally explores the past of a beloved character from the inception of the franchise. Of course it would make sense to try and rely in older themes. Now whether or not the themes actually fit with the kind of picture they're going for, as well as being over reliant on them, is another matter entirely. But if it is true that Disney is being more careful this time with the score compared to RO, then there shouldn't be much worry.
Besides, Powell will probably actually use the themes effectively, as opposed to essentially just hinting at them the way JL did it.
Mike (OTM)
2018-05-04 21:10:13
Yeah, JL isn't a comparable situation. That was Elfman making a big deal of bringing back (more like "shoehorning in") old themes that, frankly, didn't fit those versions of the characters and put the axe to musical continuity.
Star Wars has always been one continuity, without any reboots, and it's always had on-the-nose statements of themes. I'm excited for this one.
Meta
2018-05-05 15:53:13
Actually Elfman pretty much deconstructed his 89 Batman theme and turned it into the JL theme...
That was a decent effort, although he should have kept the actual 89 theme out of this, because it doesn't fit the film...I kept thinking about Tim Burton when I heard the theme. And Tim Burton and this new Batman don't mix.
Josiah
2018-05-07 04:45:48
The difference is, is that Elfman only used the past theme in a very subtle way and wasn't powerful as it should be. Not only that is he used themes from way back then that made it feel cartoonish. John Powell on the other hand will probably do it a lot better.
This might sound like a rather... odd question, but I did ask it when it came to Rogue One. Is John Powell going to use a 'classic' arrangement of the End Credits Suite, or is he writing something entirely new? The end credits theme is pretty much a staple of all the films so far and it would be interesting to know what Powell has in mind for his score there.
Edmund Meinerts
2018-04-26 00:25:44
I'm guessing that the end credits will be where we hear what Williams wrote for the film, a concert arrangement of the new theme he contributed. So it'll start with the classic fanfare and then lead into that, and then if there's any time left to fill they'll put in some of Powell's material.
John Powell stated on his Instagram that the album will have 19 tracks, and be over an hour!
Meta
2018-04-21 05:47:50
Cant say Im 100% invested.....
This will be the first Star Wars score to go the Zimmer route...
Ds
2018-04-21 07:47:30
And how is that a bad thing? :-p John Powell is an excellent choice to have both a big sounding and fun RCP score, and an orchestral one which would fit with the previously established style.
Edmund Meinerts
2018-04-21 09:04:34
You can't call Powell "the Zimmer route". He's written some of the densest, flashiest orchestral film music of the last 10+ years!
Mr Tweedy
2018-04-21 10:01:01
IMO, though Powell was Hans'protegee 20 years ago, he always had his very own style. And this style evolved so much through these decades you can't really connect any more his mannerisms to those of people at RCP!
JBSO99
2018-04-21 11:39:24
Of all RCP members, I think he is the one closest to Williams and Star Wars sound, so I think this score will be pure orchestral fun, like most of his scores usually are.
I cannot wait to listen to it!
superultramegaa
2018-04-21 12:21:28
People like Harry Gregson, Jablonsky and Zanelli, despite their melodic tendinsies, would be people chosen for going the Zimmer route. I think Jablonsky's is the closest to Star Wars but even then there's a ton of power themes, and Zimmer hallmarks that keep him away from this sort of style.
Powell is the last person I would associate with Zimmer. His techniques are very much in vain with the Williams-like composers, like Alexandre Desplat and Michael Giacchino. The complex underscore, the rapid notes, the restraint on drums, instrument variety, the jazz techniques, etc. He's the perfect RCP composer for the job.
Meta
2018-04-21 15:30:24
Restraint on drums?
Have you listened to Green Zone? The Bourne movies? Hancock?
Cmon...Yeah he's not Zimmer, but this isn't a Williams product we are talking about. It's an RC product. This is what I am talking about.
superultramegaa
2018-04-21 16:27:16
Ok, not restraint on drums, but I still don't really see how exactly his music for animated films comes even close to being an RC product. When I think of RC I think of the music for the Pirates movies, the early Bay and Bruckheimer films, etc. The work on Shrek, Antz, Ice Age, and How to Train Your Dragon is much closer to a traditional Williams score than any RC product.
Plus he's working on Star Wars so he's obviously going to try his damnedest to stick to that kind of music, and to avoid the Zimmer style. I just don't understand why you think Powell, of all people is going to be the one to dilute the Star Wars sound.
Hell, I think Giacchino's score for Rogue One was pretty much nothing more than an unmemorable, and bland version of Star Wars with very little going on besides broken down notes of the Star Wars theme playing and generic Williams copy. Just like Jurassic World. I don't know how Giacchino makes Williams' style bland but he finds a way. At least with Powell we'll get more style and memorability on top of a Williams imitation.
mpolonest123
2018-04-21 18:59:43
@superultramega It’s funny you should say that about Rogue One because, even though I do like the themes, I will agree that it definitely is weaker than any Star Wars score and seems to lack the life Giacchino normally puts into his music.
Even weirder, his music for Jupiter Ascending (another big space opera) is far more aggressive and developed, and probably one of his best. It makes me wonder if the Star Wars team wanted the safe route....
Mephariel
2018-04-21 19:23:15
While John Powell is usually far more melodic and classical than your usual RCP composer, I don't see the Williams similarity. His music doesn't really sounds like Williams' scores. But I think he is perfect for Star Wars. I am much more excited about this than Giacchino's Rogue One.
superultramegaa
2018-04-21 19:45:01
I wasn't saying Powell sounds like Williams. I'm saying he's closer in sound to Williams than he is to Zimmer for his animated movies.
Olive
2018-04-22 02:13:13
Powell is heavily influenced by Zimmer. The only thing that differs him from the others is that he really has a style of his own that matches the traces of the career he shared with Zimmer. If you listen to any of your action scores, you will notice that they are clearly RCP scores. Even the orchestral, especially "Pan" have some passages that are very reminiscent of Pirates, Prince of Egypt and Gladiator.
meta
2018-04-22 05:25:15
@superultramegaa and others
Honestly, if you take an objective look back, you can still see RC written all over Powell...And thats all well and good, because I like Powell. Well, maybe not since Hancock, but I like his style.
That being said, This will be the official first Star Wars outing with an RC score. Sure, Williams phoned in a theme...But going forward I expect RC influence to be the norm.
And, as for Giacchino...Jesus Christ. For someone who practically MADE his career apeing Williams (Jurassic Park and Medal of Honor video games spring to mind), his Rogue One was dreadful...I cant disagree with you.
Edmund Meinerts
2018-04-22 17:32:01
Wait, Meta, you haven't liked Powell since Hancock? This despite putting out his career peak in the How to Train Your Dragon scores? I mean, if there's anything that proves he's got the chops for Star Wars style orchestral and thematic music, it's those two (and X-Men: The Last Stand, and Pan).
Meta
2018-04-22 22:03:38
@Edmund
actually i wasn't interested in the Dragon scores...or Pan, for that matter. Xmen 3 wasn't too bad, but he still had that tight RCP score techniques...Yeah, I think he must have changed his methods since Hancock/Green Zone...Because I'm not interested in hsi work after that. Must be those pesky drums he doesnt use anymore?
Mephariel
2018-04-23 05:48:31
How to Train Your Dragon is one of his best. You are missing out.
But I may be the only person who thinks Face/Off is one of his best scores. I love that score more than nearly any John Powell scores.
MrZimmerFan
2018-04-23 11:42:56
Nop, you're not the only one.
I can say everything i listen John Powell is something with quality and personality.
So I keep hearing that John Williams is contributing a theme. Does this mean he wrote a whole new Solo theme, or that the new film will use an old Han Solo cue?
Hybrid Soldier
2018-04-10 22:56:56
He did write something new, which JP & team use & arrange in various ways, as well as some old themes from the franchise.
Olive
2018-04-10 23:00:09
A "new" theme for Han Solo and previous themes of the franchise.
Kingfannypack is the MILFcommander
2018-04-12 08:20:19
Thanks Hybrid! I am very excited for this soundtrack, I don’t listen to John Powell nearly enough.
*upon listing John Williams on the website as a member of RCP*
Zimmer: "The circle is now complete. When I first heard about you, I was but the learner, now, I am the Master!"
Williams: "Only a master of synthesizers, Hans!"
Mike (OTM)
2018-04-10 21:20:23
lol....I know they know each other, but I wonder how much of Zimmer's music Williams has even listened to. He tends to be kind of intentionally insulated.
Olive
2018-04-10 23:01:33
Probably very little, almost anything.
Mephariel
2018-04-11 02:11:52
I have a hard time seeing Williams being a Zimmer fan. But he did wrote Zimmer a letter about Man of Steel saying he can't wait to listen to his score right?
Shame he couldn’t team up with Harry Gregson-Williams again lol
Honestly John Powell is one of the best working composers today, seeing him do a Star Wars film while including a theme by John Williams himself is just unreal...
MrZimmerFan
2018-04-10 19:04:52
Harry was scoring The Meg, altough John Powell is a great choice for this movie.
mpolonest123
2018-04-10 21:26:04
My favorite HGW scores (apart from Narnia and the Martian) have always been his collabs with Powell. Antz is probably one of my favorite animated RCP/MV scores and I practically grew up with Shrek.
As for Solo, I’m genuinely curious as to what sound JP is going to write in. Will it be a mixture of his trademark style? Will it be him emulating John Williams? Will it be a combination? Whatever the result I’m sure it will be amazing!
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