See I don't see the Throne Room's inclusion as a celebration. I see it as an indication that at the same time as the Empire is starting, the seeds of Rebellion are being sewn, and that is why the piece is included.

Ditto to that although I don't think its out yet.

That looks like the cover of a new Alman Brothers CD.

Ok I want to chime in with my opinion of the soundtrack after having absorbed it fully. I'm not about to review it track by track, more of an overall review.

It's good. Not great, but good. Some of the comments I've read from people that I agree with: it's basically the best of Star Wars. Some new stuff, none of it really mind blowing, but it seems like a greatest hits CD. Also, I don't care much for the end credits. IMO if anything Williams should have used the more important themes from the prequels like DOTF and Across the Stars, along with a few more(Qui-Gon's theme?) instead of pulling stuff from the OT and making it sound like a slower version of ANH's end credits.

Now granted I, nor I'm guessing anyone here has heard the complete score for ROTS, so I'm just going by what will available in stores in a few weeks. Maybe the complete score expands upon the music greatly, enough so that it might move my opinion from "good" to "great". But you know, somehow I doubt it. Hey if I'm wrong I'll be happy- especially if they sell the complete score.

Anyway, it just seems that either Williams is getting old(obviously) and running out of ideas(christ he quotes Harry Potter in the first track) or this is his revenge for Lucas fucking up his score for AOTC. The ROTS score just seems... sorta weak, tired, uninspired and ho-hum. There are a few moments that shine for me- but there shouldn't be only a few moments that shine for me! The whole friggin' album should shine for me.

By comparison the score for ESB is fucking revelation. A completely perfect Star Wars film score. I don't know WHAT Williams was on when he composed the score for ESB but damn he hit every mark. Which is why apparently ESB will forever be the best Star Wars score IMO. Simply no comparison. It's complex, rich, unique, brutal, savage, beautiful enlightening, and an epiphany. The ROTS score sounds like he's going through the motions and the fact is he has for a long, long time. Maybe that's why the ESB score is so bloody great. Williams was still new to the music of Star Wars. But now?

I just hope my opinion is changed once I see the movie and see and hear how it all comes together. At this point I might even rank the score for TPM higher than the one for ROTS. Maybe. The score for ROTJ definitely ranks higher than ROTS. I think my score rank would be:

1) ESB
2) ROTJ
3) ANH
4) TPM
5) ROTS
6) AOTC

Review from Music on Film:

"This album makes me want to avoid the movie. There is no way in hell George Lucas, who's made a pretty big mockery of his trademark creation with the advent of prequel movies, is going to live up to an album of this magnitude. John Williams is out in rare form; dark subject matter has always brought out his best music. Dracula, The Fury, The Empire Strikes Back and Born On The Fourth Of July have given us some of the most stellar compositions in his long history . . ."

http://musiconfilm.net/get_review.php?id=44

It's a damn long review, pretty much breaking it down track by track. He doesn't shed a whole lot of new light besides the stuff that's been discussed here, but it's a pretty interesting read if you can manage to block out the comments like, "You could make the argument that George Lucas doesn't understand what he's doing in making these prequel movies."

Little unsupported jabs like that really irk me. If you want to discuss and analyze do so, but offhanded remarks like those . . . Fuck it, it's a pointless debate.

He says: "A lot of people have already said that this was the Star Wars album fans were waiting for. I can't completely agree because the parts of it that I had high hopes for disappointed me slightly, while the parts I was less interested in blew me away."

I have to agree slightly with that (without hearing the full movie score). Those unexpected tracks like Padme's Ruminations and Anakin's Dark Deeds just blew me away. And even Anakin's Dream (which so reminds me Schindler's list in the first 60 seconds). But I like BotH as well.

I completely utterly disagree here. Yes, there are notes from Potter but you might as well blame Williams for 'stealing' everything from Wagner.

the ROTS score is by far the most emotional SW yet. I mean Anakins Betrayal is pure emotional bliss, Padme's Ruminations is errie and gives a much more Epic tone with being minimalistic. BoTH sounds almost like an Opera. I think it fits perfectly within the context. Anakin's Dark Deeds alone tells the story. Anakins Dream could be from Schindlers list (which is a good thing)...the end credits make perfect sense.

Maybe the Grevious cues are a bit 'generic' but this score is dark for a dark movie. As great as ESB is, imo, ROTS stands on its own and is in no way to be called "tired" or whatever...

The soundtrack is amazing, you can picture the scenes while you listen to it.

Thanks to everyone who took the time to upload it.

To hold the fact that some things sound like Harry Potter, or something else, against Johnny-boy and the ROTS score, is pretty darn silly. If you compare other Williams scroes that was all written at the same time, like 1941, Dracula and ESB scores you will find a helluva lot of similarities too.

Some would probably say "yeah, but that is GOOD similarities", but that 's really up to musical taste. Who's to say if something is good or not? If you thought Harry Potter was the best thing ever, you would probably be thankful for it. I don't like Harry Potter at all, but I'm thankful that Williams stays true to his original style of doing things.

If he were to go mentally back in time and just focus on completely copying himself, and the way he was before, it would become like a false product. Williams trying to be someone he isn't anymore. And I imagine it would become pretty darn life-less too. Bringing in hints of the past, along with his current style, has always been his way of doing things within sequels and prequels, and that's what he's done here too. And if you look at ESB and ROTJ, it was the new and different things that was truely great. The Imperial March was different, and so was the music during Luke's raging attack towards Vader. If Williams had played it safe, and tried to copy the success of his award-winning first SW score, he wouldn't have written any of those.

When Williams mass-writes scores, like he does now and did 25 years ago, he gets into a mode. And when you're in that mode, there's bound to be a lot of similarities to the work, because it reflects what and how the writer thinks at that time. I'm willing to bet that Johnny, like most other artists, is not the kind of guy that sits down and listens to his own work, and he can't possibly keep track of everything he writes. If he was afraid of writing something that seem too similar to anything, he probably wouldn't have done half of the scores he's done.

Moreso Holst than Wagner, but you're right, you can't blame a guy for quoting himself, especially from things that he's working on around the same time.

Anyone notice the cue taken from indiana jones and the temple of doom?

think its in one of the tracks with grevious in the title... sorry if it had been posted before, but i cant read all of them pages :p

The beginning of "Palpatine's Teachings" is really freaking me out. I wonder if it's the "music" for the Mon Cal ballet. Either way, with Ian's creeptastic performances, this should be a great scene.

After listening to the score over and over again...

I am starting to dislike the Harry Potter elements incorporated into this film very much. When I hear the HP music, it distracts me from Star Wars and thats not cool.

Did anybody ever notice that "Disarm" and "Zombie" are basically the same song?

Frickin' weird.

Don't you know that the HP music sounds quasi like Hook, which sounds quasi like ET which sounds quasi like etc etc, and you can trace it back all the way.

If anything, HP music sounds like Star Wars Music, and in fact ROTS is bringing that back.

When you've won oscars and been scoring for award winning movies for 30+ years, come back and see me.

Hey Guys. This is only my second post, as I just joined. I've been a long-time lurker on the boards, but never really felt a reason to post, mainly because I have enjoyed just reading some of the more hilarious posts/arguements/flames, etc.

First off, DP, you are a god among men. I was seriously going insane from this soundtrack NOT leaking, and now that it has, I promise to name my first born after you. Boy or Girl. Thanks man.

Although there isn't much more I can say about the soundtrack that hasn't already been said, I do have to say that I don't really get why it is such a bad thing to some people that there are subtle hints at various other themes from some of Williams' other scores. I see it as possibly being mere coincidence. After forty years of writing scores with only twelve notes to work with and tons of rules regarding the use of those notes (phrasing, chord progression, etc.) it wouldn't suprise me if every now and then something new sounded familiar, simply because he has, like every other composer, a style of composition (Although this soundtrack would seem to show that he has tried, and I think succeeded, to compose far outside his normal style).

Then again, I could be way off base. Anyway, I think the guy deserves the benefit of the doubt. Just be glad Danny Elfman (whom I also like)didn't write the score. We would have gotten something that sounded like Batman, the Nightmare Before Christmas, Sleepy Hollow, Planet of the Apes, and Spiderman. At least John Williams is still able to suprise us by changing styles. (for those of you who like Danny Elfman, i like his music too. Its just that when I can sit in the theatre to see Spiderman, and know after the first two seconds who scored the film because it sounds like Batman, THEN we have a case for this kind of arguement.)

Abigail, I couldn't disagree more. JW has more than earned his place among the great composers, and he continues to shine right through to today. The score is awesome, no question.

And aBa, who is that girl in your icon? She gorgeous

It's him.

(sound of foot being placed firmly in mouth...)

janlomona what were you implying? That I somehow said that JW was a poor pisspot composer? That was not my posting.

I said the following:

That is a very valid argument.

true, I think I read your quote out of context. You're quite right, if the `potter' sound brings you `out' of the movie then the soundtrack isn't doing it's job, for you at least. I see what you are saying, and no, you didn't disparage JW in any way. For my part I like the different flavour this particular style brings, but I agree it definately has the HP overtones.

ps Abbygail, love the icon you have designed. That's one talented dog!

Thanks for the compliment about Abby. You don't know the full extent of her powers... she's definitely not just an ordinary dog!

To be more clear on what tracks BUG me with the Harry Potter influence: The Birth of the Twins and Padme's Destiny's beginning and Grievous Speaks to Lord Sidious.

Really?




Surgeon does nice work....!

YOu just gotta drop that harry fuckin potter shit. So he quotes 4-5 notes. Big deal. Yeah JW isnt really known for quoting himself a lot, i think that award would goto Hans Zimmer but there are quite a few scores that have similar notes. Superman is a good example. At times it really sounds like its straight from Star wars. Big deal. All what matters is how good the music will fit with the visuals and the context of the story.

Well, hold on a second now....

As film composers, we have certain things we like... certain things we're comfortable with; progressions we tend to incorporate a lot because they're our first ideas. Every composer has a different set of favorites. But one of the unique challenges of writing film music is trying not to quote yourself. It's hard anyway, but it's harder in film music because you have so much music to write in so little time, that you often have to go with your first ideas and keep on running.

But the truth is, every composer would like every score to stand on its own. We know we can't help betray our individual styles and preferences, but when we go a little too far - or a lot too far like Zimmer and Horner - it's a fair cop to call us on it. The HP similarities extend far beyond the identical notes. That would be like saying that Lord of the Rings and the Book of Satan are the same thing because they both have the word "the" in it. No... it's more than that. Williams has found a thing that he digs... it's in the notes, the phrasing and the sensibility, and he's leaning on it just a hair too much; that's what people are hearing.

In the end, it's cool to call him on it, and it's cool to forgive him for it.

_Mike

On a SW messageboard, that is a profound statement.

Bravo.

Well you have to understand, I'm a film composer who would consider himself lucky to have 1/2 the career John Williams has had, and I've been watching this thread for 13 pages now. I've seen that even if I end up a master of the craft like he is, there's still no shortage of people who will immediately line up and slam the work. Sometimes it's for completely legit reasons, and other times... well...

I'm not naive - I know you can't please all the people all the time, and there's no shortage of love for the score here. But there is a lot of good old-fashioned, home-grown ignorance about lots of things - what goes into writing the score, who actually gets to chop it up and decide how it's presented to audiences, whose aesthetic is really being served, etc. Every once in awhile I feel compelled to drop some science - just to help delineate the "sounds like Harry Potter" critics from "the movie is going to suck/rock" critics.

_Mike

At school, if I were to copy a previous report and not cite it, even though it was mine to begin with, and the teacher caught me on it... I would get in sooooo much trouble.

I am really bummed guys. Like, really sad. James Horner has used elements from his Cocoon soundtrack and incorporated them into a Star Trek soundtrack himself. I always held John Williams in higher regard because of his originality. I'm not just some fan boy flapping his lips. I do know what I am talking about and so does Mverta. All it takes is one screw up and the whole soundtrack is poopy. Because then that's all you are going to think about is the part where Harry comes in with his wans trying to take on Darth Vader.

But the whole Harry Potter sound-alike is there for like two measures (that may repeat a few times) and only in one song, no?

Ah, perspective... yes... it's a smallish blight. That's why I suggested relaxing about it. Is it there? Yes. Is it the end of the world? No... will it bum out a few people who know both scores well? Most definitely.

But for all the things people have been talking about, or nitpicking about... I have to say that for a movie that's 120 minutes long, the soundtrack album is a bit slim pickings. What I mean by this is that Star Wars traditionally (OT) gave nearly equal time in its audio track to "Let the music do its thing" moments, and "sound design" moments. Cues that appear in the movie right up front and exposed make great soundtrack pieces, because they're designed to be listened to carefully. You're supposed to pay attention to them. Cues which are clearly more underscore, like during battle scenes or heavy dialog, usually have their own distinct sound... you can hear them "waiting" for certain moments when they pop out and help with a line or a transition, then they sink back again.

RotS soundtrack album has a whole bunch of underscoring on it... and even some of the seemingly "forward" tracks, like BotH, are clearly concert versions, and don't appear in the film that way. In the end, I'm surprised there isn't more "let the music do its thing" tracks. What that means, most likely, is that the audio track for RotS is nearly non-stop, whether it's dialogue or sound design.

A perfect example on the soundtrack for a cue that's designed to stand on its own is the beginning of the last one, #15: A New Hope and End Titles. The beginning of that cue is what it sounds like when music alone holds the drama together. Nearly the entire second half of track #1 is when music takes a backseat to sound design. (The Force Theme in there definitely pops mix-forward in a few instances, no doubts...) I just notice the soundtrack didn't have a lot of music forward moments to draw from. That, to me, is a bit disappointing from a soundtrack standpoint, but also may say something about the film. We'll know in a few weeks...

_Mike

The Harry Potter similarity is there in the "Grievous Theme" which is given a slight quotation in the first track, and then a full rendition in "Grievous Meets with Lord Sidious".

I think Williams was going for a regimental, but playful march for Grievous, to go with his threatening, but kinda silly appearance. It does sound a shade too much like Hedwig's Theme, I agree, although the choral element, and the much more somber tone and arrangement keep it from being too jarring, to me, anyway.

IMHO, Phantom Menace's score, and ESPECIALLY the original 1-disc CD release, has one drawback - it's reallly hinged on what I call "transitional writing" - almost every cue on that disc felt like it was music that was killing time between the scene changes where he could poke a fanfare in. AOTC has a lot of these cues to, but JW mostly left them off the CD. For me the brilliance of JW's work in the 70s and early 80s was that almost all the music, even the transitional writing, was melodic, whereas his composing now, at least as far as the SWPrequels go, is much more chordal and textural with melodic anchors sort of bridging scenes. I did think the AOTC cd was much more old-school Williams than TPM, although I think a 1-disc CD could have been made from TPM that would have played much more melodically than transitionally, even though his style was more chordal in that score.


What i mean is this, for example:

If you compare the music for the Podrace in TPM (as JW composed it, not as it was tracked by GL) to the Trench Run in ANH, one can see the difference - ANH's cue is almost entirely melodic - at first it's a unique repeating melodic/rhythmic phrase that feels slightly offkilter, and then it's Luke's Theme, Ben's Theme (the force theme), Luke's theme (reharmonized in a jazz-influenced parallel structure), a rhythmic build to the explosion then a big presentation of the Rebel Fanfare. In TPM, there's textural material that sort functions as a motivic element for Sebulba as Ani notices his Pod's been sabatoged, then different texture as he starts to repair the pod. This is followed by frenetic string writing that has no relation to Ani's theme or Sebulba's motivic texture and isn't really melodic at all; it's rhythmic and textural but no melody to speak of. Once Ani get's his pod working again, the music sort of get's a theme in the horns that has a somewhat "galloping" feel, some big chordal hits and then as Ani finally pulls ahead to win, THEN we get his theme in the horns nice and big.

But imagine if he had scored that scene using the theme for Ani, but arranging it in the style of the trench run. Now I know the drama of the two scenes is not identical - TPM is a mid-film action sequence centering around winning a rance while ANH is the climax of the movie focusing on destroying a planet-killing machine and vanquishing evil. But still, I think you get my point COMPOSITIONALLLY speaking.

Anyway, film composing really comes down to problem-solving in a lot of ways - one must try and convey drama using orchestral instruments, chords and melodies, and how one scores a scene is really how once chooses to solve a problem - and JW chooses to solve these problems differently now than he did 20 years ago.

ps - who cares about the Harry Potter thing. People said the same thing 3 years when ACROSS THE STARS supposedly copied HOOK. There's a difference between melodic STYLE (see John Williams, or The Beatles, or Mozart or Beethover or Copland or Wagner or Mahler especially) and outright QUOTATION (see James Horner for the most grievous offenses). I mean DOTF definitely emulates Carmina Burana, but Horner's main theme to PERFECT STORM ***QUOTES*** Copland's Appalachian Spring.

I'm just disappointed the soundtrack isn't more memorable. There are a few good tracks but I'm highly disappointed with it. The transition after the opening crawl for instance, in track 1, sounds horrendous. And the end credits just sound awkward and repetitive.

I will say I like "Anakin's Dark Deeds," "Anakin vs. Obi-Wan", and "Palpatine's Teachings". However "Battle of the Heroes" is pretty underwhelming for a battle score.

Well, I am now of the opinion that BotH should have been in TPM, and that DotF should have been in RotS.

And let's face it, Across the Stars should have been Amidala's Theme from the start, interwoven with the Rebel Alliance Theme (Throne Room).

The music is no different to the rest of the prequels - poorly thought out.

Ugh. It still bothers me that people refer to it as the "Throne Room" theme. It's a march version of The Force theme.

If anyone knows of a place to get the tracks, I would appreciate a pm! I was not around this weekend like the rest of you.

Thanks in advance!

I was always under the believe that the "Force" theme was "Luke's" theme. Am I wrong?

BTW, I love the beginning of track 2 on the ROTS OST. It's like Schindler's List's soundtrack's violins meats Across the Stars.

RE: Throne Room vs Force Theme - I think people refer to it as the THRONE ROOM theme for 3 reasons: 1 - It uses the Intro heard only in the THRONE ROOM cue, 2 - It has the Elgar-esque B Section (what JW calls the "hope and glory" theme), and 3 - This exact arrangement (well, virtually exact) is called THE THRONE ROOM in the Star Wars Suite arranged by JW.

Yes. The "Force" theme is Ben's theme. "Luke's theme" is in the main title sequence.

I've never really seen Obi Wan as really being the character represented by "The Force Theme." In my mind it has always been Luke and Anakin's theme because I've always connected it with the Twin Suns.

I think a case for an Ultimate edition version of the Episode 3 soundtrack can be made. I remember reading this quote on one of the Hyperspace post notes about the recording of the soundtrack:


I have listened to the soundtrack provided on mf numerous times now, and I love it. However, I would hope that they wouldn't leave out DotF from this movie because what could be more appropriate during the final duel between Ani and Obi?

Well, I'm not sure it would make sense for Amidala to have a theme that is crossed between a love theme(of course it wouldn't BE a love theme if it started out belonging to her of course) and the force them since she is not a force user...seems kinda bizarre to me.

As far as them all being poorly thought out...I just think it's a matter of his style and composition not being as strong as it used to be in his prime. The man is old, and has done far more than any of us ever will so it's understandable, even if it's still disappointing.

At least I'm not the only one who thinks this score, based on this cd, isn't' all that hot. Good but not great I suppose. However when episodes 4-6 were mostly fantastic in my book, it's disappointing. I think I have been more excited for the music in these movies than the actual movies, and it ends up I like the movies "despite" the music. A let down to be sure, but that's life I suppose. I'm a little surprised there has been so much unbridled enthusiasm for this score from so many people actually.

Really? Are you new here? This is the biggest population of gushers I've ever seen.

Long time lurker, newbie poster... (I almost didn't want to put that, because it screams nub! like nothing else, but anyway...)

My few thoughts on the soundtrack:

I like it, for the most part. Of course, you can't really judge something like this without hearing it in the context of the actual film, but I think that after 5 amazing films, we can take this one on faith. I didn't like the fact that the droid invasion theme from TPM wasn't used much at all (I actually don't remember hearing it, but have only had the chance to listen to the soundtrack once through, so I could have missed it) That theme was one of my favorite from TPM, although it was very similar to the Nazi theme from the last Indiana Jones film, also scored by Williams. I also thought that the love theme from AoTC (across the stars) was not used enough, because that has to be one of the most emotional themes from any of the star wars movies. I loved, however, hearing the theme from Qui-Gon's funeral rehasehd and extended. Padme's funeral is already my favorite scene in the film, judging from the pictures I have seen from it, and now the music that doubtlessly will playing during it. I would love to go into more detail about the music, since I am technically a music major, but since I just failed theory III I am going to have to play it safe and now say anything about that, because I very well could say something wrong.

Anyway though, battle of the heroes is good, but I wish he had something... I don't know... different for the Vader v. Obi-Wan duel. I just think that it is a little weak for something as emotionally intense as that fight is sure to be.

All in all, though, a loud Hurrah for Williams. He has done an excellent job! (again.)

EDIT: Something I forgot to say. I don't think that DoTF would be appropriate at all during the Anakin/Obi-Wan fight. I'm glad we at least got something new.

I think that has a lot to do with it being so new. I think everyone was so excited to be hearing new Star Wars music that maybe their praise was a little to enthusiastic.

Mine was at least. After listening to it about 50 times and letting the newness wear off, I don't like it as much. I still do like it a lot, but I'd have to take my back my earlier gushing of "being right behind ESB."

Maybe I'm just going the other way and I'm losing my enthusiasm due to hearing it too much. But it's hard to compare complete two disc scores to this "taste," since so much has been left out. Including DotF, which I'm almost positive will end up in the film, based on all the talks and quotes from people like GL and Williams.

yeah, that's me

my name is Justin, and yes, i'm a man...

I agree with Demodex: "I'm just disappointed the soundtrack isn't more memorable."

And Ternian: "And let's face it, Across the Stars should have been Amidala's Theme from the start, interwoven with the Rebel Alliance Theme (Throne Room)."

I can summarize the ROTS score in one word: unremarkable.

The ROTS score should be very memorable and yet from what I've heard, just like the prequels, these things only serve to push you to watch the OT and truly bask in their glory for they are the true mark of Lucas' Star Wars legacy and the real measure of his genius.

Don't get me wrong; I like the prequels. I'm not a basher by any means. The prequels are an epiphany as they were meant to be. The background, the story of the before time. For that matter I don't think the ROTS score sucks- far from it. But I'm not compelled to listen to it over and over again.

But the meat, the shit you want to really sink your teeth into and not have to worry about exposition, is still and will always be the OT on almost every level. Everything came together for the OT to present a modern myth presented in cinematic form.

That's not to say that I think ROTS will suck, judging either by the music or the questionable and numerous film clips. But I'm faced with the fact that if John Williams can't completely please my ass then I need to drop my expectation level down several notches and then some.

Don't get your hopes up, Gary.

Been reading for awhile at least. You can see when I registered. You really think this place is full of "gushers?" Seems more level headed than pretty much anywhere else. It seems to me like internet message boards are going to be idiot magnets by their very nature but MF.com seems to do pretty well.

This IS a Star Wars *fan* site isn't it? It seems that most people who visit these places would generally like the films. Like myself.

Why the hell are people bashing the soundtrack?

I realize it may not be everyone's favourite out of the six, but to take chunks out of it is quite unfair. Williams has worked hard to produce what he hopes will satisfy long-time fans of the saga, who have waited a lifetime to see the events of ROTS, and hear the music.

Bashing the soundtrack? Who the fuck is outright bashing the soundtrack? There are highs and lows. For that matter do you know the difference between bashing and discussing? There is no bashing going on here. It's discussion.

If you want to generalize and clump people together that have anything critical to say about the ROTS soundtrack as "bashers" then you can fuck yourself with an uneducated chainsaw up the ass to cut yourself open and free yourself of the putrid truth.

I've noticed that a lot of people have mentioned hearing influences from other film scores in the ROTS soundtrack. Never having seen nor heard Harry Potter, I can't comment on that, but I have heard a phrase in the AOTC soundtrack that reminded me of the brachiosaurus from Jurassic Park, and I noticed a number of points in both the AOTC and ROTS soundtracks that reminded me a great deal of the velociraptors. In all, I really don't think it matters that I hear these things, and for me at least, it doesn't detract from the experience of whatever I'm listening to at the time. Besides, what's wrong with a composer reaching back into his established repertoire when working on something new? It's still good music.

Out of town over the weekend for work, and I get back this morning, log in, and see that I missed the mother load. I'm so jealous.

Having not heard it, I am in the camp that John Williams is as much a genius as Lucas. Maybe moreso. He is the pre-eminent composer not just of our generation, but at least the last century.

I remember reading a story in the Boston Globe back in 99, as they explained the musical queues from the old trilogy that were reworked for TPM. I never would have picked up the end parade similarity to emperor's theme, at least not without being told to listen for it. Same for anakin's theme matching vader's theme. I'm not a musician, but it seemed ingenius to me. I love the soundtracks from all the movies, and wish they would rework ultimate editions as they did for TPM.

Little circle jerk here: Over the last 6-9 months, I've really looked forward each day to checking in to see the latest spoiler reports, leaked pics, trailers, and now music. As it all culminates in the next 5 weeks, I must say that I will be sad not to have new spoiler info to look forward to. Thanks to all the contributors at millenniumfalcon who've made the build up for ROTS so fantastic!