SOUNDS OF MUSIC The Star Wars Trilogy Soundtracks are truly "Special Editions" Review by R. Lee Brown

     One of the most triumphant elements of the Star Wars Trilogy has been its rousing soundtrack, courtesy of composer John Williams and the London Symphony Orchestra. From the adventurous, fabled Main Theme which opened each film, to the touching notes of "Han Solo and the Princess," to the majesty of the Force in all its musical incarnations ("Binary Sunset," "The Throne Room," and others), the soundtrack to the movies of the Star Wars Trilogy have always united even the most dissonant SW fans in admiration. Williams' use of the "leitmotif" - a theme or melodic phrase for the major characters and story events, helped create some of the most memorable movie music ever released.

     One of the most unfortunate elements of the soundtracks has been their content. Early vinyl releases, even the two album sets of Star Wars and The Empire Strikes Back, not only didn't present many pieces of music from each of the films, but what music they did contain had been re-edited: certain passages were removed due to the space limitations of vinyl records; several pieces were replaced with "concert" versions; and worst of all, many of the tracks were combined with cues from unrelated scenes, so the listener could not follow the flow of the film (remember how "The Last Battle" segued from the Death Star escape (Stormtrooper: "It's them! Blast 'em!") directly into the final X-wing assault?) As if that weren't bad enough, the Return of the Jedi album was released with only ONE record. And when the albums were finally translated to Compact Disc, the TESB soundtrack was also reduced to only one album's worth of music. Now, matters were worse.

     Hope finally appeared on the horizon in 1993, when 20th Century Fox Film Scores released the "Star Wars Trilogy: Original Soundtrack Anthology." This FOUR disc set was a Star Wars fan's dream come true. Containing music never before released, this set replaced many of the missing passages, so that we could at last hear over our stereo systems musical numbers like "Imperial Attack" in their entirety. The second Cantina Band number finally surfaced, and an entire second album's worth of music from ROTJ was at last available. Plus, alternate versions of existing pieces were presented so we could see, if a creative decision or two had been made differently, what almost was included.

     However, there were still a few mynocks in the mix. Many musical pieces were still attached to unrelated segments, so the overall flow was not there. Additionally, as the producers of this anthology were trying to give each film one main CD, the fourth CD contained music from all three movies - so the listener had even less opportunity to maintain film continuity. And there were still entire musical cues not present - most notoriously, the Millennium Falcon's escape from the Space Slug. Disappointed listeners had to cling tenuously to a promise that an additional album "containing every scrap of music recorded for the Star Wars films" would be released.

     Then came the Special Edition soundtracks - and that promise, though not quite fulfilled, was carried out in spirit if not in form. Still more missing passages have been restored. Each film is given a two-CD set, and (hard to believe), still more previously unreleased music is included. While there is a piece or two of music that has yet to make it onto a Star Wars album (as well as a few that have now been bumped) the Special Edition soundtracks are glorious to experience. Not only have they managed to come up with a digital re-mastering from "newly discovered multi-track source elements," but the music is now all presented chronologically. Slap on the headphones, you've died and gone to heaven.

Star Wars (A New Hope): Special Edition Soundtrack
2-CD set from RCA-Victor (09026-687-2)

     This is the first time the "new" full title of Episode 4 has been included on a soundtrack. And what a treasure to experience. While the sheer novelty of hearing everything chronologically for the first time is a joy in and of itself, the "previously unreleased" music makes you remember how much you've missed its inclusion in previous releases.

     The most prominent new inclusion from the film is "Tales of a Jedi Knight/Learn about the Force" wherein we "hear" Ben's doctored version of the life and "death" of Anakin Skywalker, as well as Princess Leia's holographic message in full, Luke's reluctance to get involved, and Ben's knowing remark that Luke must do what he "feels is right."

Binary Sunset: Alternate Track

     This album contains less unreleased music than the other two, but makes up for that in alternate tracks. A different version of "Binary Sunset" is included, showcasing Williams' original intent for the scene before Lucas requested a wistful rendition of the Force theme. The original music is more somber and moody - an interesting contrast. The listener is also treated to not one, but five original renditions of the Star Wars Main Theme - these are the very first full recordings of the theme, and it is notable how Williams rearranged the music, punching up certain instruments and retreating others further into the background.

The Empire Strikes Back: Special Edition Soundtrack
2-CD set from RCA-Victor (09026-68747-2)

     TESB was always my favorite soundtrack, with the grand, malevolent "Imperial March," the breathtaking "The Asteroid Field," and the nail-biting "Hyperspace" (alas, brutally interrupted by an otherwise interesting Special Edition addition of Vader returning to his Star Destroyer in the film). This new release struggles mightily to keep TESB in the top spot.

The Falcon's escape from the Space Slug makes its CD debut.

     The main triumph of this album is the long-awaited CD release of "The Mynock Cave," featuring the previously mentioned Escape from the Space Slug. Not only does this piece finally make its compact disc appearance, but a long missing small musical phrase has been re-inserted.

     Simply being able to listen to the entire Hoth battle sequence in order is joy enough, but the TESB Special Edition soundtrack delivers further, finally offering the long missing Probe Droid opening from the movie, which has always been replaced on the soundtrack with its alternate. Additionally, "Betrayal at Bespin," "Deal with the Dark Lord," and "Aboard the Executor" all contain music new to the ear of the soundtrack afficianado.

     As a lark, I suggest to all who have their CD/stereo equipment hooked up to (or positioned next to) their VCR/laserdisc setup to try the following experiment. Several pieces of music from TESB were composed for, but never actually made it into the final film. It's quite a hoot to see how this music plays against the scenes it was written for. Cue up your tape or laserdisc of TESB to the end of the scene where Luke is dragged away by the Wampa (pause the tape/disc right after a recognizable major beat of music.) Then find that same musical sequence on the soundtrack - its in the track titled "The Ice Planet Hoth." When the CD music gets to the place where you paused the tape/disc, let 'er fly. The music works really well, and if we were to second guess the director, we might reinsert it back into the actual film.

Return of the Jedi: Special Edition Soundtrack
2-CD set from RCA-Victor (09026-68748-2)

     The movie that's always had the least amount of music available on soundtrack record/CD continues to release more previously unpublished music in this Special Edition album. Herein we find music created for the long-rumored cut scene that finds Luke Skywalker constructing a lightsaber at Ben Kenobi's hut and receiving a telepathic communique from papa Darth Vader. Also new is "Bounty for a Wookiee," "The Pit of Carkoon," "Alliance Assembly," "Land of the Ewoks," "Threepio's Bedtime Story," as well as "source" (background) music from Jabba's Palace as well as two Ewok tribal numbers.

     Conspicuously missing are both the album and movie versions of "Lapti Nek" and "The Ewok Celebration," as well as the source music heard as Jabba's Sail Barge cruises towards the Sarlacc. The latter is curious in its absence, since the music remains in the film. The disappearance of the former two is at least understandable since they are no longer in the film at all, although their inclusion would have been nice for the completists among us.

Edgar the Yuzzem belts out "Jedi Rocks."

     But we are treated to their replacement pieces - two BRAND NEW musical numbers created for the ROTJ: Special Edition. The first, "Jedi Rocks," is the only piece of Star Wars music NOT composed by John Williams. "JR" was written by Jerry Hey, who assisted on The Color Purple as well as writing the music for the video game "Maximum Hangtime." Described as a "jazzy-bluesy" number, "Jedi Rocks" expands the "Max Rebo Band" substantially, including two drummers, a "harmonica" player, three backup singers, and a new second singer who plays off well against the returning Sy Snootles. While the second half of this piece seems too pedestrian, although in a bluesy way, for a Star Wars film, the first part is a fine replacement for "Lapti Nek," which played much too disco in comparison.

ROTJ celebrates minus the "yub yubbing."

     The second new piece of music is "Victory Celebration." This piece replaces the infamous "Yub Yub" ending song, as well as covers new footage of celebrations on Bespin, Tatooine, and Coruscant that have been added to the film's conclusion. I heard this piece of music before I saw the Special Edition, and was immediately disheartened. Where was the excitement, the splash one expects from a triumphant Star Wars march? "Victory Celebration" is a much quieter, less orchestral piece that builds slowly. Yet upon a repeat hearing, and seeing the music work with the film, my opinion reversed itself. "VC" is entirely hummable, still evokes the Ewok village when it needs to, but is a very HUMAN piece of music, celebrating the very essence of what the Star Wars Trilogy stands for.

     Ultimately, celebrating is what all Star Wars fans will do when they pump their stereos full of the most complete, best-sounding, digitally re-recorded chronologically presented Star Wars music to date.
(R. Lee Brown spends his every waking hour writing and editing ECHO STATION, a condition that worries his landlord when rent is due. The only breaks he takes are to check his Email at Screenwriter@compuserve.com)