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John Williams' lovely and moving score for the sixth Star Wars film brings thirty years of collaborating on George Lucas’ beyond-popular intergalactic franchise to a close. (Is this really the end of Star Wars? Can’t Lucas and Williams work together on a prequel to these prequels? Let us hope so, and that Jar Jar Binks is nowhere near it.) As this music accompanies the most exciting Star Wars film in many a moon, the soundtrack itself is more fun, more evil, more nasty and bumpy. Many of the heroic, anthemic themes woven throughout Episode Three: Revenge of the Sith will necessarily be familiar to any fan of the series, from the "Imperial March" to the main theme. It’s remarkable how stirring the latter can be, no matter how many times you’ve heard it, and even for those who do not have all their money invested in S.W. memorabilia. There is a lot of new music here, and the lush, extensive range of both Williams and the London Symphony Orchestra is on display, most notably in the menacing, percolating "General Grievous" and the rousing "New Hope" end theme. --Mike McGonigal The Force Is Also with: <...
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The Star Wars cycle, George Lucas's stellar pop parable cum merchandising blitzkrieg, has long since made history as an unparalleled cinematic-cultural-marketing phenomena; somewhere Billy Jack should be in one envious, ass-kickin' mood. Phantom Menace, easily the most eagerly anticipated film of the '90s, returns to the saga's roots and allows Lucas to flesh out the history of some of the fable's core characters and conjure up a dazzling new cast of cohorts, antagonists, and alien realms for them to interact with and in. Thus, all composer John Williams had to do was essentially reinvent the world's most popular wheel. The film-scoring legend has admirably risen to that daunting challenge, delivering an inventive score whose dynamics should surprise and delight even the most ardent SW fanatic. The Main Title and a few oh-so-sparing bars of a familiar Jedi theme are all that remains from the original trilogy's lexicon, Williams having evolved the saga's musical language, stylistic reach, and orchestral palette with masterful subtlety. The composer's most ambitious surprise is the welcome addition of strong choral elements, which he uses in ways both maje...
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Artist:
John Williams
There's never been anything quite like the symphonic film music series that John Williams has forged for George Lucas's sprawling Star Wars saga. By the time the sixth chapter rolls around, Williams will have created a body of work that spans fully 30 years of his career, a virtual Ring Cycle of sci-fi/fantasy soundtrack music. While Attack of the Clones again achieves the high standards of its predecessors, it also succeeds by both forging some rewarding new musical themes at the same time it begins to bring the galactic fable full circle. The budding relationship between now-teenaged Anakin Skywalker and Amidala/Padme is informed by "Across the Stars--Love Theme from Attack of the Clones," a grand romantic motif that's infused with a subtle melancholy that hints at the tragedy that must ultimately befall the young lovers. The composer's mastery of idiom and color serve him especially well in the action cues, infusing "Zam the Assassin and the Chase Through Coruscant" and "Jango's Escape" with bracing doses of 20th-century modernism and its inherent rhythmic fury performed, as always, by the London Symphony Orchestra. Williams also incorporates the "For...
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Artist:
John Williams
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The Skywalker Symphony Orchestra
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Artist:
Original Motion Picture Soundtrack
The Soundtrack to the all-new animated Star Wars feature film. Composer Kevin Kiner has created a dynamic score for CLONE WARS which builds upon the classic themes created by John Williams. Contains an exclusive fold-out poster!
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Artist:
John Williams
For better or worse, John Williams has completely reshaped the art of the soundtrack. His scores for Star Wars, E.T., and Jaws are simply unforgettable, and his knack for tugging at our heartstrings is uncanny. John Williams: Greatest Hits 1969-1999 collects 30 years of the composer's best-loved themes into one double-CD package. You'll find all the soundtrack moments you'd expect from Indiana Jones, Close Encounters, and Schindler's List, along with a few surprises (The Reivers Americana-filled main theme and Williams's 1984 Olympic theme, for starters). Most of the earlier works have been digitally rerecorded by Williams, so while you may not get the original recording of these works here, nothing shows its age. And although we really do get only his "greatest hits" (the longest track is the nearly 10-minute-long Close Encounters theme), most of these soundtracks can be purchased in their entirety for the true aficionado. John Williams may be an acquired taste, but this set proves why--year after year--he scores some of the most successful films Hollywood can produce. --Jason Verlinde
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Artist:
Stars
On September 25, Stars will release their fourth studio album, In Our Bedroom After The War. It’s Stars’ most confident and compelling work to date, an album that showcases the seven years of experience they share as a band. It was recorded at the Warehouse Studios in Vancouver, BC and mixed by Joe Chiccarelli (The White Stripes, The Shins, Morrissey). For a limited time, In Our Bedroom After The War will include a bonus DVD featuring a 55-minute documentary of Stars’ live performances and interviews while touring Set Yourself on Fire.
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