Music Behind the Screen

Star Tours is still one of the most fun simulator rides across the Disney parks. In this edition of Music Behind the Ride, I wanted to explore the musical history of the ride and its updates through the years.

In a first for Disney, it was an attraction based on a non-Disney property. Hoping to bring a new audience to the parks, Michael Eisner partnered with George Lucas in what would be become Star Tours and Captain EO (the 3D Michael Jackson film that opened in 1986). Star Tours would first replace the classic (and dated) Adventure Thru Inner Space at Disneyland. The ride is structured around a new ride system (the ATLAS) which allowed the Imagineers to sync the ride simulator with the audio and visuals of the film.

Once inside the show building, the queue was designed as a terminal for your intergalactic flight with the schedule board showed departures for various Star Wars locations. You see a large scale StarSpeeder 3000 alongside animatronic C-3PO and R2-D2. Various worker droids are in the next area (with some references to Adventure Thru Inner Space and recycled animatronics from America Sings). The announcement chimes and the planet advertisement music were all newly composed by Richard Bellis. After the short and funny safety video your group is ready for the trip to Endor.

You meet the nervous animatronic pilot REX (voiced by Paul Reubens). After a few flight complications, your ship jumps to hyperspace and passes Endor to be caught in a comet field. A tractor beam drags your ship as you're now caught in the grip of the Empire. You make your way to the Death Star trench run, which you assist in ultimately destroying. REX pilots the StarSpeeder back home with almost a near collision in the hangar bay.

For the ride music, John Williams was brought on board to score the new footage. A new score seemed unnecessary for the roughly 5 minute ride, so Imagineers used action music from the films. It features sections of The Empire Strikes Back and A New Hope - the Asteroid Field as you dart around the comets and Here They Come for the Death Star attack run. Bits of the lightsaber duel are also used. Richard Bellis arranged the ride score and re-recorded it with a real orchestra. The thrilling ride was an instant hits with fans when it debuted at Disneyland in 1987. It opened at Disney MGM Studios (now Hollywood Studios) and Tokyo in 1989 and Paris Disneyland in 1992.

Starting in 2010, each park would begin closing Star Tours for their conversion into Star Tours: The Adventures Continue.

For the updated ride, guests are still tourists going to a variety of Star Wars locations. C-3PO and R2-D2 are supposedly performing maintenance on the new StarSpeeder 1000 before the guests arrive and doors close. Of course, that means that our original nervous pilot REX is out of this edition. (He does appear in the ride queue). The ride is about the same length but with an updated ride system, animatronics, and 3D high definition video screens.

The biggest change to the ride comes from the randomization and addition of all Star Wars films. While delivering a Rebel spy, there are four videos that can be different on every trip through Star Tours. Each scene option is listed for each scenario.
The bad guys arrive and you make a hasty exit:
1. Darth Vader, 2. Stormtroopers, 3. First Order Stormtroopers, 4. Kylo Ren

You jump to light speed and make it to your first planet:
1. Hoth Battle, 2. Tatooine Podrace, 3. Kashyyyk, 4. Jakku Chase

A holographic transmission sends the StarSpeeder to the next location:
1. Princess Leia, 2. Admiral Ackbar, 3. Yoda, 4. BB-8, 5. Poe Dameron, 6. Maz Kanata

Another jump to light speed takes you to the second planet:
1. Coruscant Battle/City Chase, 2. Naboo Battle/Underwater, 3. Geonosis, 4. Crait Battle

At the end, you land and disembark the craft. The scenes from The Force Awakens and The Last Jedi were added as new choices in 2015 and 2017, respectively. Also added is a landing in the space port of Batuu, the homeworld of Star Wars: Galaxy's Edge.

For the music, Michael Giacchino was approached to add new music to the ride. He provided the fun arrangements of John Williams themes for the location travelogues and pre-show videos. The Richard Bellis Star Tours chimes remain through this portion. Asked to write new music, John Williams instead had Imagineers work with his music editor and the original film cues to fit the new footage. For Tokyo Disneyland, William Ross adapted a longer suite for their arrival hall.

Big musical cues are all over the listed segments, associated with their scenes and films. Individual characters get their themes, like Vader, Kylo Ren, and Leia. The main planet segments have a range of all the Star Wars films, including TIE Fighter Attack, Imperial Attack, The Forest Battle, Sail Barge Assault, The Asteroid Field, Boys into Battle, and March of the Resistance. Naturally the opening of the End Credits are played as you exit the ride vehicle (straight into the Star Wars themed gift shop).

As far as recordings, the original Star Tours music has been on several official Disney park albums featuring Richard Bellis opening music and Williams arrangements. Even the queue source music Droid Rooms made it on an album. Material from Star Tours: The Adventures Continue hasn't been available besides the original film soundtracks. I would love a release of Giacchino's lounge arrangements someday. Perhaps it'll be paired with the music John Williams wrote for Galaxy's Edge.

Back to our musical score time machine! For this edition, we're looking at 1999! Here's a look back at the scores of 1999 with my list of the 10 Best Scores Turning 20!

Let's start the ranking!

10. The Cider House Rules (Rachel Portman)

Portman's lush orchestral sound with featured piano is a real treat. The main title's sweeping melody gets much play in the score while strings and woodwinds carry much of the gentle score. Still Portman's best known score (and featured in years of Michigan advertisements).

9. Toy Story 2 (Randy Newman)

Newman returns to the original themes and continues almost everything stylisticly from the first film's score. Full of the animated "mickey-mousing" scoring style, Newman adds more material for Buzz Lightyear and introduces themes for Woody's new cowboy pals. Even now, Jessie's song can wring a few tears out of me.

8. The Mummy (Jerry Goldsmith)

Right away from the opening Universal logo, Goldsmith goes all out in introducing us to the ancient Egyptian setting. The music is full of adventure, suspense and occasional horror. The full orchestra and choir are worked nonstop in large action cues. Not Goldsmith's finest, but can be enjoyed even more in the expanded 2018 soundtrack release.

7. The Red Violin (John Corigliano)

Corigliano branched his modern classical music and film music with this fantastic score. After introducing the haunting main theme, it's arranged to fit the film's journey in time and place. Much of the score is carried by Joshua Bell's stunning violin solos, adding much life to this score, which would go on to win the best score Oscar.

6. The Sixth Sense (James Newton Howard)

A subtle horror film score is quite rare, but Howard pulls it off with his first Shyamalan collaboration. Adding to the film's eerie story, Howard provides much of the emotion and tension. The main theme is present, but never intrusive. The finale of the film and album are the clear highlights, including the spoiler-rific final track.

5. Galaxy Quest (David Newman)

An overly fun score to a great, fun movie. Newman crafted a full fledged adventure score, while staying true to the sci-fi parody. As the story matches several TV situations, it's Newman's perfectly on the nose TV main theme that gets used as the film's main theme (which itself goes through several iterations and variations). The orchestra and choir add heaps of humor and drama into the film, which was thankfully expanded in 2012.

4. Angela's Ashes (John Williams)

It's easy to forget some of the more somber and quiet Williams scores. The main theme is nicely placed at the beginning of the album, and carried through much of the score. But it is the beautiful piano, oboe and harp solos add much warmth to the dour story.

3. The Matrix (Don Davis)

Don Davis took an extreme approach to this sci-fi action film. Davis combined together a large orchestral sound with an extended brass section, electronics, atonal dissonance and postmodern orchestral techniques. Working nicely with the film and the plentiful songs, the score has some heroic moments mixed with the dark atmosphere. Thankfully he was able to continue this style on the rest of the sequels.

2. American Beauty (Thomas Newman)

It's hard to imagine the film without this Newman score. Its unconventional use of instrumentation ranges from simplistic to the most complex and unique. The biggest standouts are the rhythmically minimalist opening material and the melodic piano melody. Full of other Newman-isms, he expands what a score can do to the scene's emotions and subtext.

1. Star Wars Episode I: The Phantom Menace (John Williams)

Taking 1999 by storm, Williams returned to the Star Wars galaxy with a fantastic score. Naturally, he followed the leitmotif writing from the original trilogy. His writing style is more modern, and Lucas gave Williams several action set pieces to show off. For new material, Duel of the Fates is still the clear standout by far. While the film's merits are always up for debate, the sonic return of Star Wars music is still thrilling.

Honorable Mentions:
Anna and the King (George Fenton), Endurance (John Powell), The Green Mile (Thomas Newman), The Iron Giant (Michael Kamen), October Sky (Mark Isham), South Park: Bigger, Longer and Uncut (Marc Shaiman), The Talented Mr. Ripley (Gabriel Yared), Titus (Elliot Goldenthal), Wild Wild West (Elmer Bernstein), The 13th Warrior (Jerry Goldsmith)

Any personal favorites of yours from 1999 that I didn't include?

Back to our musical score time machine! For this edition, we're looking at 2009! Here's a look back at the scores of 2009 with my list of the 10 Best Scores Turning 10! Let's start the ranking!

10. Sherlock Holmes (Hans Zimmer)

Matching the unique direction by Guy Ritchie, the standout of this score is the eclectic group of instruments. Jarring to some, it's full of Romanian-style violin solos, cimbalom, and a literally beat-up pub piano. Aiming to do something different, the quirky score still has a strong fan base.

9. The Informant! (Marvin Hamlisch)

Hamlisch returned to feature films with a score that straddles the worlds of the main character. Small jazz ensemble, spy swing and full Mancini-esque 60's style pop score are all employed to this dark comedy.

8. A Christmas Carol (Alan Silvestri)

Continuing the Christmas spirit of The Polar Express, Silvestri explores the light and dark sides of the classic tale. A lovely theme carries through much of the score which is melded with traditional carols. The grand and heartfelt music makes up for the shortcomings of this CG adaptation.

7. Drag Me to Hell (Christopher Young)

One of Young's stronger horror scores (and he's done plenty). The big score is full of Gothic elements and uses the large orchestra and choir to great effect. The organ and devilish violin solos are an utter delight.

6. Twilight: New Moon (Alexandre Desplat)

Building on the first film of the hit franchise, Desplat's score adds more romance and more melancholy. Scored like a smaller French film, the piano and string melodies treats the film like a serious drama and not like...well, Twilight. As the story unfolds, there is the more sinister side of Volturi and werewolf action scenes.

5. Fantastic Mr. Fox (Alexandre Desplat)

One of the more eclectic sounding scores, it fits nicely with Wes Anderson's stop motion aesthetic. The instrumentation is wide-ranging with banjo and jaw harp in the forefront. The score ranges from minimalist, wacky, quirky, and folksy with some unsubtle Morricone references. It's a load of fun, but not as refined as his later Anderson works.

4. Coraline (Bruno Coulais)

The score enhances the dreamlike world in Laika's first feature. Odd sounds match the otherworldly aspects - it's darker and more experimental than most kid films. The musical textures, spectacular choral moments and ambient sounds help the stop-motion visuals stand out.

3. Star Trek (Michael Giacchino)

Giacchino captures the adventurous spirit of this Trek reboot. The new strong theme is heard through the score (and the following sequels). Music carries much of the excitement and motion, and hits emotional beats nicely. His use of the original TV theme is among the many musical highlights.

2. Avatar (James Horner)

Part of the cornerstone of Pandora world building is this Horner score. Even with some recycled Horner elements, it's a great mix of strong action, stirring melodies, choral and Na'vi ethnic elements. Horner brings wonder through the intimate moments and the larger than life blockbuster set pieces.

1. Up (Michael Giacchino)

In Pixar films, the music can carry the story just as much as the visuals. It's no more stunning than the married life sequence. The thematic development proves Giacchino's mastery at storytelling - from the jazzy style to the floating house's waltz and the thrilling jungle adventure.

Honorable Mentions:
Amelia (Gabriel Yared), Angels & Demons (Hans Zimmer), Astro Boy (John Ottman), Harry Potter and the Half-Blood Prince (Nicholas Hooper), Knowing (Marco Beltrami), Night at the Museum: Battle of the Smithsonian (Alan Silvestri), Ponyo (Joe Hisaishi), The Princess and the Frog (Randy Newman), Public Enemies (Elliot Goldenthal), The Stoning of Soraya M. (John Debney), Trick 'r Treat (Douglas Pipes)

Any personal favorites of yours from 2009 that I didn't include?

This Spotlight On takes a look back at the films in the Phase Two of the Marvel Cinematic Universe.

This Phase contained some strong and weak sequels, with some introductions to major MCU characters.

Iron Man 3 (2013)
Music by Brian Tyler
Action master Brian Tyler took the reins of Iron Man with an action packed score. A nice mix of strong driving percussion, traditional orchestral techniques and electronics. Most prominently is a melodic theme for Iron Man, a real first in Iron Man films. The hummable theme adds a lot to the score, making it the most enjoyable Iron Man score to hear. (Just listen to: Iron Man 3, Stark, Heart and Iron, Can You Dig It)

Thor: The Dark World (2013)
Music by Brian Tyler
Providing strong themes for the main characters, and solid action material makes this score another great superhero score. Like the film, most of the score is unfortunately forgettable. (Just listen to: Thor: The Dark World, Lokasenna, Sword and Council, Legacy)

Captain America: The Winter Soldier (2014)
Music by Henry Jackman
Jackman provides an electronic thriller soundscape for this divisive score. Besides the direct quotes of Silvestri's theme, the Captain gets a new patriotic-sounding theme. The Winter Soldier gets a brash electronic theme. (Just listen to: The Smithsonian, Taking a Stand, Captain America)

Guardians of the Galaxy (2014)
Music by Tyler Bates
Utilizing a larger orchestra and some themes fitting the Marvel style, Bates treads familiar blockbuster territory, but adds in his own synth twist in the score in addition to strong themes. While the music fits the heroic moments, it's the soundtrack's songs that steal the show.
(Just listen to: To The Stars, The Kyln Escape, Guardians United, A Nova Upgrade)

The Avengers: Age of Ultron (2015)
Music by Brian Tyler & Danny Elfman
With music composed by both Tyler and later Elfman, it could have been more disjointed. The gigantic scores has some highlights, but many of them are built on the Avengers themes by Silvestri.
(Just listen to: Rise Together, Inevitability/One Good Eye, Vision, Avengers Unite)

Ant-Man (2015)
Music by Christophe Beck
Beck trims the orchestra down, which gives the film a sleek and distinct sound. Beck is able to transform his great main theme multiple ways: 60's caper, surfer, jazz and full blown triumphant superhero.
(Just listen to: Theme from Ant-Man, Ant 247, Scott Surfs on Ants, Small Sacrifice)

Check out the others in the Marvel Cinematic Universe series!

MCU Phase One, MCU Phase Three

This edition of Spotlight On takes a look back at Phase Three of the Marvel Cinematic Universe.  In this wave we get some more repeat composers, an Oscar win, strong thematic continuity and some of the biggest box office juggernauts.

Captain America: Civil War (2016)
Music by Henry Jackman
Jackman creates a moody atmosphere while focusing on the darker aspects. Past themes aren't readily noticeable, with new dissonant themes for Zemo and Winter Soldier leading. Jackman does add some nice emotional underscore to our heroes battle. Like Winter Soldier, this score doesn't stand strong without the visuals. (Just listen to: Standoff, Larger than Life, Cap's Promise)

Doctor Strange (2016)
Music by Michael Giacchino
Giacchino musically represents the folding dimensions and the more mystical elements. His new theme fits the mystical and action sides nicely.  (Just listen to: Ancient Sorcerer's Secret, Smote and Mirrors, Astral Worlds Worst Killer, Strange Days Ahead, Master of the Mystic End Credits)

Guardians of the Galaxy Vol.2 (2017)
Music by Tyler Bates
Bates returns with more explosive action and rousing heroic material. The brass and choir get a big workout and his main theme gets even more large statements. There's some large dramatic moments but the emotional Dad material works great. (Just listen to: Two-Time Galaxy Savers, Mary Poppins and the Rat, Dad)

Spider-Man: Homecoming (2017)
Music by Michael Giacchino
Much like the iteration of the web-slinger, Giacchino's music is lighter and more playful. The new Spidey theme is catchy and sprightly while the Vulture's theme is foreboding and dark. The two themes go through multiple iterations and clash in some great action cues.  (Just listen to: Academic Decommitment, Webbed Surveillance, Fly-By-Night Operation, No Frills ProtoCOOL)

Thor: Ragnarok (2017)
Music by Mark Mothersbaugh
Just like the film breaks the mold of the past Thor films, the score does the same. Mothersbaugh keeps things fresh with some 80s synths mixed with the orchestral elements. It's a fun score, with some great action highlights and odd enough to work with the film's humor.  (Just listen to: Ragnarok Suite, Thor: Ragnarok, No One Escapes, Sakaar Chase)

Black Panther (2018)
Music by Ludwig Göransson
One of the most distinct-sounding Marvel scores, Goransson introduced some fantastic themes for T'Challa and Killmonger. African vocals and percussion are what help this score stand apart. From emotional beats to brutal action, this Oscar winner is a force in the film. (Just listen to: Wakanda, Busan Car Chase, Glory to Bast, United Nations/End Titles)

Avengers: Infinity War (2018)
Music by Alan Silvestri
Again skipping the separate motifs for each individual character, Silvestri goes for some large action cues and general suspense. His emotional sections are extremely effective, and a large chunk of score corresponds with Thanos.  (Just listen to: He Won't Come Out, More Power, Forge, I Feel You, Infinity War)

Ant-Man and the Wasp (2018)
Music by Christophe Beck
Building on what he did previously, Beck adds a Wasp theme and some fresh takes on the Ant-Man theme. There's some darker material with choir for the villain, but the action cues utilizing the Wasp and Ant-Man themes make this a fun listen.  (Just listen to: It Ain’t Over Till the Wasp Lady Stings, A Little Nudge, Anthropodie)

Captain Marvel (2019)
Music by Pinar Toprak
A solid theme leads the score with some heroic moments among the large action writing. Fitting the film's setting we get some 90's action movie guitars and synths. It fits the film just fine, but suffers a bit of generic modern scoring-itis. (Just listen to: Captain Marvel, Hot Pursuit, More Problems)

Avengers: Endgame (2019)
Music by Alan Silvestri
Here Silvestri leads the emotional charge through the movie. He continues his strong action writing, and his new solemn family theme is spectacular. His prominent use of the Avengers theme adds to the wow factor in several sequences. His culmination of material after all these years is worth the wait.  (Just listen to: Totally Fine, The Measure of a Hero, Portals, The Real Hero, Main on End)

Spider-Man: Far From Home (2019)
Music by Michael Giacchino
To be continued...

Check out the others in the Marvel Cinematic Universe series!

MCU Phase One, MCU Phase Two

Aladdin

Music score composed by Alan Menken

Songs by Alan Menken, Howard Ashman, Tim Rice, Benj Pasek, Justin Paul
Conducted by Michael Kosarin

Music arranged by Christopher Benstead
Additional music by Christopher Benstead
Songs orchestrated by Doug Besterman
Score orchestrated by James Shearman, Tom Kilworth

Music recorded at AIR Lyndhurst, London

Total album running time: 76 minutes

Available on Walt Disney Records

Ready or not, another live-action Disney remake. 2019 alone gets Dumbo, Aladdin and The Lion King. Just like most Disney productions, the music plays an important role. Let's check out this 2019 Aladdin soundtrack.

The beginning of the album features the all the "tentpole" songs from the original, plus one new song. Countless videos, press and blogs go over the song performances, so I'll skip that and discuss the newly reworked score.  Similar to Beauty and the Beast (2017), we find a new but similar song score by Alan Menken. Carrying over much of the team from 2017's live-action Beauty, Christopher Benstead arranged and wove the melodies through the new score.

The biggest change is the overall live-action tone to the score. Many moments are more sparse, but we do get a few big sweeping Hollywood moments.  The flavor throughout the score is more Middle Eastern influenced - the instrumentation alone gives you that sense. We hear some featured duduk, quanun and oud among the traditional Western orchestra.

The Big Ship uses the Arabian motif (Arabian Nights) opening right away, with the bigger orchestration setting our scene. Agrabah Marketplace begins exactly like Marketplace in the original score, with a more modern percussion arrangement. As we transition to Aladdin's Hideout, we get some great statements of Aladdin's motif ("riff raff street rat") with some hints at A Whole New World.  Jasmine Meets Prince Anders introduces Jasmine's theme with the chorus of Speechless. Breaking In continues the Arabian motif in both small and large settings. Returning the Bracelet uses Whole New World before the melody of Proud of Your Boy is referenced. That lovely song was cut from the original film, but still remains one of my favorite Menken & Ashman songs.

The Dunes is one big sweeping orchestral statement of Arabian Nights, while the same melody is bit more mysterious and quiet in Simple Oil Lamp. The Cave of Wonders hides bits of the Arabian Nights melody and A Whole New World melody among the choir and varied swirling textures.  The Basics features a bit more "ethnic" instrumentation and choir, in a more stop/start animated scoring style. The end of the cue introduces the opening flourishes of the Friend Like Me intro. Escape From the Cave gets to work with brass and percussion taking charge while little bits of song melody are used.

Prince Ali's Outfit is a bit of fun lighter score, with ethnic flair and some Arabian Nights melody. The orchestra comically bounces between Friend Like Me and the Prince Ali fanfare and melody.  Until Tomorrow begins with a lighter Prince Ali melody. A straightforward but lovely rendition of A Whole New World continues for the rest of the track.  Aladdin's Second Wish starts with a flourish and adds some piano hints of Prince Ali. The orchestra builds to a soaring moment of Whole New World before leading to some quieter moment for choir and flute. Never Called a Master Friend has a tender but dark reprise of Prince Ali, with some solo cello and flute. Harvest Dance is a fun arrangement of Speechless mixed with a bit of Friend Like Me. The orchestration naturally fits Aladdin and Jasmine's dance, helped by Genie's magic.

Jafar Becomes Sultan is a bigger cue, using percussion, and choir among Friend Like Me's intro. Hakim's Loyalty Tested works as underscore for an emotional plea from Jasmine, featuring the introduction of Speechless with a hint of Whole New World. Most Powerful Sorcerer again uses the Friend Like Me intro as a motif of the Genie's powers as the score builds.

Carpet Chase gets the percussion groove going with quick strings runs in one of the big action cues, while Jafar Summons the Storm brings the large choir and percussion. Strings and choir add a bit of Whole New World at the end of the track. Jafar's Final Wish builds slowly with rising brass and sliding strings to a big reprise of Arabian Nights.  Genie Set Free, the longest track on the album, encompasses most of the final scene. Past themes get their reprises throughout: Aladdin's motif, Whole New World, and Speechless. It's probably the most directly influenced by the '92 score. The Wedding begins with Speechless and builds to a splashy arrangement of A Whole New World. Friend Like Me (Finale) is the orchestral version of the song before the end credits.

For the score, it's a mixed bag. Adding more authentic instruments and pop elements aren't necessarily bad changes.  The musical motifs from the songs are handled nicely and in interesting ways.  And the song performances are enjoyable for the most part. That said, the end credits pop versions are atrocious. Unfortunately, in certain spots the new score hits almost the same emotional and musical beats as the original. Each Aladdin is a product of its time and this one fits the style director Guy Ritchie wanted. It's less Broadway and Hollywood sounding. If that is enough to scare you away, there's the 1992 Oscar winning original, which still can't be beat.

When thinking of iconic rides in the Disney parks, Pirates of the Caribbean easily comes to mind. In this edition of Music Behind the Ride, I wanted to dig into the ride history, the music, and the updates over the years.

One of the last rides overseen by Walt Disney personally, the dark boat ride opened at Disneyland in March 1967. The ride features over 100 animal and pirate audio-animatronics which help populate the multiple show scenes. Designed by some of the top Imagineering talents, here's a rundown of the original ride. Entering in New Orleans Square, your boat glides through the bayou, passing the Blue Bayou restaurant. Your boat passes under the skull and crossbones (voiced by X Atencio), which gives a stern warning. The boat takes a quick plunge down waterfalls into the grotto. We hear the first iteration of Yo Ho (A Pirate's Life for Me) with lyrics as your boat heads into the grotto.

The tableaus in the grotto are grim - skeletons around an empty treasure chest, stuck at a ship's wheel, the captain's skeleton propped in bed and wine trickling through a skeleton in the crew's quarter. Atmosphere and sound effects carry much of this section, but instrumental versions of Yo Ho are heard. The boat goes past the treasure room with "dead men tell no tales" heard by ghostly voices.

You next go between the Wicked Wench firing cannons on your left and the Spanish fort on the right. The next scene goes through the rambunctious actions in the sacked town. Classic tableaus surround the boat on all sides - the dunked pirate, the wench auction scene and the chasing pirates. You hear the sounds of rowdy pirates singing A Pirate's Life for Me as they loot the burning town. The song continues as we see poses of drunken pirates and the iconic prison dog. Later we see pirates shooting around while sitting on barrels of gunpowder in the arsenal. The boat heads back into the bayou for exiting as we hear a lively version of Yo Ho.

Like other early Disneyland attractions, a musical identity would give a sense of continuity to the ride. Imagineer X Atencio would write the dialog for the ride, and eventually the lyrics to Yo Ho (A Pirate's Life for Me). The song was modeled after a sea chanty, which kept things light among the pirate's scary scenes and deeds. For music, Walt turned to George Bruns. Bruns, music director for Disney, worked on several Disney television shows and animated films - he's no doubt done something you know. As mentioned before, the tune follows through most of the ride, mostly in instrumental variations. The burning town brings the rapid fire lyrics, both incredibly catchy and hard to sing along to!

Shockingly, Pirates of the Caribbean didn't open when Walt Disney World's Magic Kingdom opened. Disney quickly added it to the park, and had it open in 1973. The ride's locale this time is in a Spanish fort, which the queue winds through. The beginning bayou is gone and the cavern section is truncated, but generally the ride is the same. Disney was sure to have Pirates of the Caribbean as opening attractions in Tokyo Disneyland in 1983 and Disneyland Paris in 1992.

Over the years, the attraction has gone through various changes - some more controversial than others. But the biggest change was the 2006 refurbishment.

After the success of the Pirates film franchise, Imagineering added film elements into the classic attraction. This refurbishment was timed with the release of Pirates of the Caribbean: Dead Man's Chest (2006). Multiple audio-animatronic figures of Jack Sparrow now appear throughout the ride, Captain Barbossa now shouts from the deck of the battled Wicked Wench and Davy Jones' ghostly image appears in a waterfall. Naturally the ride script was tweaked with references to Captain Jack. Musically, the track "The Medallion Calls" from the first film was used in the Barbossa ship battle and ride entrance. Later, "Up is Down" was added to the entrance area, and snippets of the organ music was added to Davy Jones' effect. More changes came in 2011, coinciding with On Stranger Tides and more controversial script/animatronic changes in 2017. Disneyland Paris eventually added in cursed Barbossa and Jack Sparrow audio-animatronics in 2017.

Over in Shanghai Disneyland, a whole new concept of Pirates took place as Pirates of the Caribbean: Battle for the Sunken Treasure. Opening in 2016, the ride features a new story based entirely on the film series. It's a great example of a modern dark ride, with illusions/practical effects, stunning audio-animatronics, large video projections and an updated ride system. Since the ride is film based, we hear snippets from the scores like Jack Sparrow's theme, Davy Jones' organ, and of course the main "He's a Pirate" cue. And yes, Yo Ho makes an instrumental appearance at the end.

For recordings, plenty of Disney park compilations include the original vocal Yo Ho and Bruns' Pirates Overture. There also was a park exclusive album, full of musical treasures - with parts of the original audio elements, demos and even the full Disneyland "float through".

Pirates of the Caribbean is a classic attraction seen the world over. Thanks to X Atencio and George Bruns, it also adds one of the most memorable songs into the Disney parks! Drink up me hearties!

In this Screen Credit Quiz, I wanted to expand to the wide world of television!
Here's what to do: name the TV series by title card and put your guesses into the comment section!

1.

10.

11.

12.

The newest Spotlight On is all about the Rambo film franchise.
In honor of the newest release, I'm looking back score by score in the series.

First Blood (1982)
Music by Jerry Goldsmith
John Rambo's theme is one of the best of Goldsmith in the 80s. It goes from lonely trumpet solo, to its bursts in action cues, and then the melody of It's a Long Road. Instrumentation is prime Goldsmith as is the light use of electronics. Other action and suspense motifs are introduced, which are used to build up to some fantastic orchestral climaxes. The film and score are less outrageous as the later films.  (Just listen to: Home Coming, Mountain Hunt, Over the Cliff, It's a Long Road)

Rambo: First Blood Part II (1985)
Music by Jerry Goldsmith
Everything gets ramped up in this memorable sequel. Goldsmith, like Rambo, goes into full blown action mode. The main theme appears in more action settings as well in addition to a new adventurous theme. The propulsive action writing and ridiculously fun synths make this an easy score to come back to again and again.  (Just listen to: The Jump, Preparations, Escape from Torture, Revenge)

Rambo III (1988)
Music by Jerry Goldsmith
Goldsmith returns with another score as Rambo travels to Afghanistan. Much of the music is surprisingly more contemplative and restrained. There are new themes that use more Middle Eastern flavored as he arrives on his mission. Percussion and synths are used heavily for the several suspense cues. Goldsmith's score never shies away from the over-the-top violent action.  (Just listen to: Another Time, Afghanistan, The Game, Night Fight, I'll Stay)

Rambo (2008)
Music by Brian Tyler
Years later, Stallone returned to Rambo just as he did with 2006's Rocky Balboa. After Goldsmith's passing, Stallone turned to Brian Tyler. Tyler uses the Goldsmith themes through the score, and also introduces a new theme for Rambo. The full theme statements bookending the the album are great. Tyler goes for his signature action writing for most of the film's brutal action.  (Just listen to: Rambo Theme, No Rules of Engagement, Aftermath, Battle Adagio)

Rambo: Last Blood (2019)
Music by Brian Tyler

Rambo returns for his last adventure, this time taking on a Mexican cartel. Tyler again infuses his score with Goldsmith moments alongside his own Rambo theme. The quiet moments are nice, but much of the score is the tiresome bombastic action that he's known for. (Just listen to: The Ranch, Dusk, Homeward Bound, Rescue at Night, Preparing for War)

Check out the others in the SPOTLIGHT ON.... series!

Harry Potter, Batman, James Bond, Star Trek, Marvel, Pixar, X-Men, Spider-Man, Superman, Jack Ryan, Transformers, Die Hard, Planet of the Apes, The Fast and the Furious, The Hunger Games, Mission: Impossible

The newest Spotlight On is all about the Terminator film franchise.
Since 2019 saw another film addition, I'm looking back at each score in the series.

The Terminator (1984)
Music by Brad Fiedel
One of the defining features is the fully synthesized score written and performed by Fiedel. It lies right between cool futuristic sounds and cheesy 80s synth scores. The score does use some painstakingly layered electronic textures, effects and driving metallic ostinatos. The Terminator theme continues to be the musical identity for the series. (Just listen to: The Terminator Theme, Escape from Police Station, Love Scene, Tunnel Chase)

Terminator 2: Judgment Day (1991)
Music by Brad Fiedel
For this massive blockbuster, Fiedel was able to musically expand on his last score.
The music tech sounds more polished and Fiedel was able to play in a much bigger sandbox - creating it on two syntheziser workstations. The music contains much of the menace and dark mood with repetitive rhythms for the large action scenes. The result is extremely effective within the film adding to the film's spectacular sound design. (Just listen to: Sarah's Dream, T1000 Terminated, It's Over (Good-Bye))

Terminator 3: Rise of the Machines (2003)
Music by Marco Beltrami
Fiedel's main theme and synth sound were replaced with Beltrami's orchestral action writing. Beltrami recreates the T2 atmosphere with strong rhythmic writing but new melodic material. Notable bits include the growling TX theme, new John Connor theme and the emotional finale music. (Just listen to: Hearse Rent a Car, Graveyard Shootout, Terminator Tangle, T3)

Terminator Salvation (2009)
Music by Danny Elfman
Elfman continued the larger orchestral scoring while still maintaining the metallic percussion, extended orchestral techniques and synths. Fiedel's themes aren't heard anywhere in the film. A strong John Connor theme and militaristic motifs appear alongside several Elfman-isms. The more human moments have some prominent acoustic guitar writing. (Just listen to: Opening, Farewell, Final Confrontation, Salvation)

Terminator Genisys (2015)
Music by Lorne Balfe

Balfe did bring some new ideas (along with references to Fiedel's theme) to the score. An amalgamation of Zimmer-style writing - the booming brass, string ostinatos and electronic manipulation sound familiar. The quiet moments stand out more than the repetitive action cues. (Just listen to: Bus Ride, Sarah Kicks Ass, John Connor, It's Really Me)

Terminator: Dark Fate (2019)
Music by Tom Holkenborg (Junkie XL)
A new composer for a new Terminator iteration, Holkenborg added a Spanish guitar motif for Dani and slurring electronics for villain REV-9. Much of the score is kitchen sink Junkie XL writing, exploding with percussion, electronica and sound design. The last cues are the best of the album and incorporate Fiedel's material. (Just listen to: My Name is Dani, For John, Epilogue, Dark Fate)

Check out the others in the SPOTLIGHT ON.... series!

Here's the annual 2019 Roundup of Original Score nominations and winners from various awards associations. Winners will be marked in red and updated regularly!

ACADEMY AWARD
BEST ORIGINAL SCORE
[nominees announced 1/13]

GOLDEN GLOBE
BEST ORIGINAL SCORE
1917 (Thomas Newman)
Joker (Hildur Guðnadóttir)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)
Motherless Brooklyn (Daniel Pemberton)

BRITISH ACADEMY FILM AWARDS (BAFTA)
[nominees announced 1/9]

ANNIE AWARDS
OUTSTANDING ACHIEVEMENT IN AN ANIMATED FEATURE PRODUCTION
AWAY (Gints Zilbalodis)
Frozen 2 (Christophe Beck, Frode Fjellheim, Kristen Anderson-Lopez, Robert Lopez)
I Lost My Body (Dan Levy)
Spies in Disguise (Mark Ronson, Theodore Shapiro)
Toy Story 4 (Randy Newman)

SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)
ORIGINAL SCORE
1917 (Thomas Newman)
Ford v Ferrari (Marco Beltrami/Buck Sanders)
Harriet (Terence Blanchard)
The Irishman (Robbie Robertson)
Joker (Hildur Guðnadóttir)
Marriage Story (Randy Newman)

LOS ANGELES FILM CRITICS ASSOCIATION
BEST MUSIC SCORE
*I Lost My Body (Dan Levy)
Runner-up: 1917 (Thomas Newman)

LOS ANGELES ONLINE FILM CRITICS SOCIETY
BEST SCORE

SAN DIEGO FILM CRITICS SOCIETY
BEST USE OF MUSIC IN A FILM
Jojo Rabbit
Joker
Once Upon a Time... In Hollywood
Rocketman
Yesterday

SAN FRANCISCO FILM CRITICS CIRCLE
BEST ORIGINAL SCORE
1917 (Thomas Newman)
Joker (Hildur Guðnadóttir)
Last Black Man in San Francisco (Emile Nommensen)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)

SEATTLE FILM CRITICS SOCIETY

BEST ORIGINAL SCORE

WASHINGTON DC AREA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE
*Us (Michael Abels)

BOSTON SOCIETY OF FILM CRITICS
BEST USE OF MUSIC IN A FILM
[announced 12/15]

CHICAGO FILM CRITICS AWARDS
BEST ORIGINAL SCORE
[winner announced 12/14]
1917 (Thomas Newman)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)
Uncut Gems (Daniel Lopatin)
Us (Michael Abels)

DETROIT FILM CRITICS SOCIETY
BEST USE OF MUSIC
1917
*Once Upon a Time…in Hollywood
Rocketman
Uncut Gems
Wild Rose

ST. LOUIS FILM CRITICS ASSOCIATION
BEST MUSIC SCORE
1917 (Thomas Newman)
Ad Astra (Max Richter)
Avengers: Endgame (Alan Silvestri)
How to Train Your Dragon: Hidden World (John Powell)
Marriage Story (Randy Newman)

AUSTIN FILM CRITICS ASSOCIATION
BEST SCORE

NORTH CAROLINA FILM CRITICS ASSOCIATION
BEST MUSIC
[nominees announced 12/27]

DALLAS-FORT WORTH FILM CRITICS ASSOCIATION
BEST MUSICAL SCORE
[announced 12/16]

HOUSTON FILM CRITICS SOCIETY
BEST ORIGINAL SCORE
[announced 1/2]

PHOENIX CRITICS CIRCLE
BEST SCORE
[winner announced 12/14]
1917 (Thomas Newman)
Joker (Hildur Guðnadóttir)
Little Women (Alexandre Desplat)
Us (Michael Abels)

LAS VEGAS FILM CRITICS SOCIETY
BEST SCORE
*Once Upon a Time... In Hollywood

FLORIDA FILM CRITICS CIRCLE
BEST SCORE

GEORGIA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE
[nominees announced 1/3]

LONDON CRITICS CIRCLE FILM AWARDS
TECHNICAL ACHIEVEMENT (FOR MUSIC)

CRITICS CHOICE AWARDS
BEST SCORE
1917 (Thomas Newman)
The Irishman (Robbie Robertson)
Joker (Hildur Guðnadóttir)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)
Us (Michael Abels)

SATURN AWARDS
BEST MUSIC

Frozen II

Score composed by Christophe Beck
Original Songs by Kristin Anderson-Lopez and Robert Lopez

Score orchestrated and conducted by Tim Davies

Orchestrated by Dave Metzger, Jeremy Levy, Ryan Humphrey
Songs arranged by Dave Metzger
Vocal arrangements and conducted by Stephen Oremus
Music recorded at Warner Bros. Eastwood Scoring Stage

Score running time: 53 minutes
Deluxe Edition running time: 129 minutes

Available on Walt Disney Records

In 2013 the world was struck with frozen fever. Since the Oscar winning film debuted, there have been two short films, a Walt Disney World ride and 2018 Broadway musical.  Of course the songs were a huge part of Frozen's success. Kristin Anderson-Lopez and Robert Lopez’s songs were on repeat for several months, with Oscar winning "Let It Go" heard around the world. Thankfully the songwriting pair and Christophe Beck reunited to expand the Arendelle world in Frozen II.

For the new songs, there is "All Is Found", "Some Things Never Change", "Into the Unknown", "When I Am Older", "Lost in the Woods", "Show Yourself", and "The Next Right Thing". A few times in the film they revisit "Vuelie", the choral piece from the first film that's just as much musical identifier as "Let it Go". These songs by Kristin Anderson-Lopez and Robert Lopez are honestly fantastic.  These songs are the obvious draw for most listeners, so the standard soundtrack has the songs and end credit pop versions. The deluxe digital edition features bonus outtakes, instrumental versions and the film score. For this review, I'm looking solely at the deluxe edition's score.

The Disney castle logo runs as Introduction begins with a choral and orchestral reprise of "Vuelie" with a hint of "Do You Want to Build a Snowman" on flute. The Northuldra is a nice cue, featuring the enchanted forest melody on bass gemshorn with some magical touches before growing larger. Sisters is mainly a lovely cue for harp and flute featuring the Anna/Elsa theme. Exodus features a swirling motif and gets darker around the roaring horns.

The Mist brings the gemshorn melody back, while more flutes of all types adding new textures and later the low strings join with the forest melody. Wind adds some action and mystery, with the rhythm charging ahead and a return of a theme representing Elsa's powers from the first film and great new theme heard later. Iduna's Scarf begins with a lovely arrangement of the melody from "All is Found" before transitioning to a vocal rendition of "Vuelie". This standout track continues with a solo piano, flute and harp bring the lighter side of Elsa's powers theme, and then a solo horn statement of "The Next Right Thing" melody.

Fire and Ice is a flitting action cue with Elsa fighting the fire spirit, which is the repeating motif through the track. Earth Giants introduce more menace into the score with added ethnic flute blasts. The Ship includes solemn performances of "All is Found" representing the sister's parents and the Anna/Elsa theme returns on flute. River Slide underscores another action moment with some stop-and-go writing, and flute blasts as the giants appear. Dark Sea charges ahead with intense string writing building to a fantastic large orchestral moment.

Ghosts of Arendelle Past is a lovely warm cue, with some hypnotic and ethereal patterns. A fragmented phrase of "All is Found" on brass matches the scene's dialogue. Gone Too Far is a beautifully sad cue with some graceful choir writing. Rude Awakening returns to charging rhythms and flute blasts. The Flood brings back the grand new theme, Northuldra theme, and Elsa's powers theme in large statements. It's a great visual scene benefiting from the music.

Reindeer Circle is a terrific choral piece, and like "Vuelie", co-composed by Frode Fjellheim and performed by Cantus. Nearing the end of the film/album, Reunion is of course a return to several themes playing tenderly. Epilogue is lively, and features a big melodic reprise of "Some Things Never Change". It's delightfully cheerful and eventually transitions to another reprise of "Vuelie" at the big finale.

With Frozen II, Christophe Beck builds on his score to Frozen (2013). With this film, music makes more of an impact with the film. The filmakers wanted a more mature story, and the music follows. It features less mickey-mousing and better matches the emotional and action beats of the story. Like the first film, the Norwegian musical elements match well to the composer's style. Beck also interpolates song material far more, which adds to the cohesive musical storytelling. (He did feature a few subtle song references in the first score, but perhaps too subtle). I've been impressed by Beck's recent work, and I hope audiences dig into the deluxe edition since it's the only way to hear these songs and score.

Much has been written and talked about John Williams' monumental scores to the Star Wars films. I wanted to dig deeper into the music in each film, but focus on the source music.

Source music (also known as diegetic music) is the music heard by the characters in the scene. In the case of Star Wars, it's often music being played by characters on screen. So here goes, film by film (in Episode order) - what source music there is and where you can hear it.

Episode I - The Phantom Menace (1999)

Williams composed source music for the background of several Mos Espa scenes. Most are buried heavy in the film mix but you can hear Street Band of Mos Espa, Desert Winds (unused), Mos Espa Arena Band, and The Street Singer on the Ultimate Edition soundtrack. You could argue The Flag Parade is half score/half source. At the end of the film we see the Naboo victory parade with Augie's Great Municipal Band.

Episode II - Attack of the Clones (2002)

A bit of futuristic upbeat music appears in the Dex's Diner scene. This unreleased bit was written by John's son, Joseph Williams.

Episode III - Revenge of the Sith (2005)

When Anakin and Palpatine meet in the opera house, the Mon Calamari ballet performance features low male voices and synths. It blends into the ominous score underscoring his Dark Side studies. It appears on the soundtrack in Palpatine's Teachings.

Episode IV - A New Hope (1977)

Arguably the most recognizable film source music, we hear Cantina Band as Luke and Ben enter the Mos Eisley cantina and Cantina Band #2 when they discuss with Han and Chewie. Williams created an interesting jazz combo that sounds both futuristic and familiar.

Episode V - The Empire Strikes Back (1980)
No source music to be found in this Episode.

Episode VI - Return of the Jedi (1983)

Jabba's palace is a boon for source music. When the droids first talk to Jabba, we hear Jabba's Baroque Recital, a courtly minuet. The Max Rebo Band performed the disco-like Lapti Nek (arrangement/lyrics by Joseph Williams). The song was replaced by Jedi Rocks (music by Jerry Hey) in the '97 Special Edition. There are some additional snippets of songs performed on the sail barge, but they remain unreleased.
Later, there is a bit of Ewok source music - Ewok Feast and Part of the Tribe. The semi-source Ewok Celebration (the Yub Nub song) was replaced in 1997 with Victory Celebration.

Episode VII - The Force Awakens (2015)

As our heroes arrive in Maz Kanata's castle we hear two reggae songs, Jabba Flow and Dobra Doompa (written by Lin-Manuel Miranda and J.J. Abrams) with the former released on an EDM inspired Star Wars album.

Episode VIII - The Last Jedi (2017)

With a visit to the casino on Canto Bight, we hear a throwback source to the original Cantina Band. The bright tune features brief quotes of "Aquarela do Brasil" and the melody of "The Long Goodbye" (written by Williams in 1973). Most of the casino source music was featured in Canto Bight on the soundtrack.

Episode IX - The Rise of Skywalker (2019)
On the planet Kijimi, they visit the bar run by the familiar looking Oma Tres. In the bar we hear Lido Hey (Miranda and Abrams) and Oma's Place (Rickey Tinez and Abrams).

Star Wars: The Rise of Skywalker

Music composed by John Williams
Music conducted by John Williams
Music orchestrated by John Williams, William Ross
Music recorded at Sony Scoring Stage
Album running time: 76 minutes
Available on Walt Disney Records

Hard to believe we've gotten three separate trilogies of Star Wars. And best of all, nine films worth of John Williams. His scores to the Original Trilogy (1977-1980-1983) are deemed classics by fans and critics alike. His Prequel Trilogy scores (1999-2002-2005) were some of the best features of the films. And now his Sequel Trilogy (2015-2017-2019) comes to a close.

The Force Awakens let Williams introduce new thematic material for the new characters, and also allowed plenty of room to fit in themes from the Original Trilogy. The Last Jedi and Rise of Skywalker seemed to give more than enough reverential treatment to the past themes. From this trilogy, Rey and Kylo Ren's respective themes naturally get the most usage. We do get reprises of the Resistance March, Luke's theme, Leia's theme, Yoda's theme, Poe's theme, the Force theme and also the Emperor's theme, among others. This new film adds Anthem of Evil, Rise of Skywalker theme, and trio theme, among other motifs mentioned later.

Fanfare and Prologue of course opens with the main title scroll before jumping into the darker side of the story. We hear Kylo Ren's theme, the Knights of Ren motif, a seductive motif from Revenge of the Sith and an eerie rendition of the Emperor's theme. Journey to Exegol brings large brass statements and featured heavy percussion among Kylo's theme and even a full statement of the Imperial March.

The Rise of Skywalker is a concert suite featuring the Rise of Skywalker theme and trio theme. The lovely pair of themes use warm woodwind and string writing. Williams always likes to place his concert tracks near the beginning of the album, but it feels very out of place here. The Old Death Star brings the sinister side with a growing Imperial March statement. The Resistance March and Rey's theme are tucked in the arrangement before ending with some orchestral flourishes.

The Speeder Chase is a lively action set piece. Frenetic strings dance around a little fanfare motif and other classic Williams action scoring tricks. This track is very different than heard in the film, and includes a concert ending. Destiny of a Jedi is a great example of musical storytelling utilizing past leitmotifs. We first hear elements of Rey's theme throughout, with the Force theme underscoring Luke's reappearance. A low woodwind Anthem of Evil statement precedes tender reprises of Leia's theme, Luke's theme and the trio theme. The track ends with Yoda's theme/rising X-Wing material from Empire Strikes Back. Anthem of Evil is a concert piece utilizing this new thematic material with ghostly choral writing and grand orchestral statements.

Action writing (featuring great brass) highlight Fleeing from Kijimi. Kylo Ren's theme and Knights of Ren motif get statements, with slight pauses for Luke's theme and trio theme. We Go Together elaborates on the lovely trio theme, as Poe, Finn and Rey travel to Pasana. Rey's theme and the Force theme are also reprised and the cue ends with some great dramatic writing. Join Me features dissonant strings and it gets forceful around the Anthem of Evil theme before building to the darkest statements of Rey's theme so far. Near the end, there's a bit of sweeping action with Kylo Ren's theme.

Things turn more heroic in They Will Come with full statements of the Resistance March and the Rise of Skywalker theme. The Final Saber Duel is more emotional than action, while featuring some orchestral jabs and dynamic transitions from Rey and Ren's theme to the Force theme and Leia's theme.

Battle of the Resistance runs on orchestral adrenaline. In between the whirlwind writing, Poe's theme finally appears on album alongside Luke's theme, and several settings Force theme (the action-filled one at the end is marvelous!) Approaching the Throne is naturally ominous with the lower registers getting statements of Rey's theme and Anthem of Evil. Midway we switch back to the aerial battle with the Resistance March and Rise of Skywalker theme in new settings. The track ends with a huge choral appearance. The Force Is With You brings an almost angelic choir, while Rey's theme is performed on piano before the orchestra takes over. The orchestra continues with a larger than life Gothic rendition of the Emperor's theme. Responding back is the Force theme, stronger than ever. Cutting to the space battle, the Rise of Skywalker theme is heard before a reprise of the Rebel fanfare.

Rey's theme is more subdued and mournful in Farewell, as is Kylo's theme. The music builds to a large crescendo before a celebratory reprise of the Rise of Skywalker theme with choir. Reunion is a triumphal leitmotif crash-course with musical appearances from the Force, Poe, Yoda, Rey, Luke and Leia, and trio. Some don't make much sense in context, but J.J. Abrams had the nostalgia meter cranked to 11. A New Home builds on Rey's theme combined with elements from The Jedi Steps. Finale uses one last binary sunset take on the Force theme before transitioning into the lengthy end credits. For the credits, we hear new arrangements of the trio theme, Anthem of Evil leading into the Imperial March, Rey's theme, and Rise of Skywalker theme. Finally we arrive at a truncated main title/finale, bringing us back where John Williams started in 1977.

John Williams is the linchpin that holds all the Star Wars film together. His importance to the narrative storytelling cannot be overstated. The scores have left an indelible mark on film scoring and film making in general.  I'd love to hear expanded editions of the saga, as there are plenty of great moments not on this album.  The Rise of Skywalker didn't meet fan expectations. The editing and music tracking seems to have created a monster to puzzle together. For what it's worth, Williams helped bring the trilogy to a close with new themes and a variety of thematic callbacks. These scores will be listened to and studied for years to come, and I can't wait.

With the 2010s ended, I wanted to think at my favorite scores of the decade. So here's a year by year shortlist (in alphabetical order).

**2010**

Alice in Wonderland (Danny Elfman)

How To Train Your Dragon (John Powell)

The Last Airbender (James Newton Howard)

Tron: Legacy (Daft Punk)

**2011 **

Captain America: The First Avenger (Alan Silvestri)

Hugo (Howard Shore)

War Horse (John Williams)

**2012 **

Brave (Patrick Doyle)

John Carter (Michael Giacchino)

Journey 2 The Mysterious Island (Andrew Lockington)

Lincoln (John Williams)

**2013 **

The Book Thief (John Williams)

The Croods (Alan Silvestri)

Saving Mr Banks (Thomas Newman)

**2014 **

The Grand Budapest Hotel (Alexandre Desplat)

Maleficent (James Newton Howard)

The Monkey King (Christopher Young)

**2015 **

Cinderella (Patrick Doyle)

Jupiter Ascending (Michael Giacchino)

Mission: Impossible - Rogue Nation (Joe Kraemer)

Star Wars: The Force Awakens (John Williams)

**2016 **

Fantastic Beasts and Where to Find Them (James Newton Howard)

Jackie (Mica Levi)

The Jungle Book (John Debney)

La La Land (Justin Hurwitz)

**2017 **

Spider-Man: Homecoming (Michael Giacchino)

Star Wars: The Last Jedi (John Williams)

The Mummy (Brian Tyler)

Wonderstruck (Carter Burwell)

**2018 **

Black Panther (Ludwig Goransson)

Free Solo (Marco Beltrami)

Mary Poppins Returns (Marc Shaiman)

Solo: A Star Wars Story (John Powell)

**2019 **

1917 (Thomas Newman)

Child's Play (Bear McCreary)

How to Train Your Dragon: The Hidden World (John Powell)

Jojo Rabbit (Michael Giacchino)

Little Women (Alexandre Desplat)

One of the more popular rides at Universal Studios is Jurassic Park. In this edition of Music Behind the Ride, I wanted to explore the ride and large update to Jurassic World as well as the musical side of the ride.

Even before the film was released in theaters, Universal began the planning phase for Jurassic Park: The Ride. Universal and Landmark Entertainment decided on a water attraction in 1991. In the original Michael Crichton novel, there is a river trip that was ultimately cut from the 1993 film. Since so much had gone into the planning stage, the water attraction idea was kept for the ride.

Built in Universal Studios Hollywood's Lower Lot, you pass through the iconic Jurassic Park gates through some jungle theming to the main queue area. There the video screens have dino facts, and information about the "park". John Hammond (Sir Richard Attenborough) has a large part in the video before the ride safety portion. Clips from the film are used alongside snippets of "Journey to the Island" from the John Williams score. You enter your bright yellow Jurassic Park themed boat, up the first lift to the main river journey.

As you pass a set of large doors, you hear the John Williams main theme and Richard Kiley's narration welcoming you to Jurassic Park. (Kiley is a great nod to his role in the novel and film). Large Ultrasaurus animatronics tower on both sides of the river. The boat goes under a rock tunnel and waterfall with animatronic Stegosaurus on the other side. A water spraying Parasaur comes out of the water, which knocks the raft away from the Hadrosaur Cove into the restricted area. We see the ripped Velociraptor fencing and abandoned boat. On the boat is the Dilophosaurus (the spitting one from the film) chewing on a life vest, while classic Mickey ears bobs in the water.

The boat travels towards the pump station, a teetering Jeep slides down the right wall (if the effect was properly working), and a Dilophosaurus pops out on each side to spit water on the boats. The boat goes up another large hill into a building, with a voice over describing an evacuation. Animatronic Velociraptors pop out at guests while sirens and lights go off. There's a small dip and a T-Rex smashes through the ceiling pipes. The voice over starts the countdown before the toxic gases are released. As you near a waterfall, the gigantic T-Rex appears and roars overhead. The boat goes down the signature 84 foot drop into the lagoon below.

Two main themes from the John Williams score are easily heard on the ride - the Theme from Jurassic Park and sections from Journey to the Island. For additional dramatic music and musical transitions, Landmark Entertainment turned to Gary Guttman. He recorded his own music in the Williams style with the Seattle Symphony.

The ride first opened at Universal Studios Hollywood in summer 1996. It was directly copied for Universal Studios Islands of Adventure in Florida - and was an opening day attraction in 1999 known as Jurassic Park River Adventure. Islands of Adventure would keep the same version, while Hollywood would get the big update in 2018.

Closing the ride in 2018, it would reopen in summer 2019 re-themed as Jurassic World: The Ride. After years of showing its age, new updated effects and updated ride system were included in the re-theme. Here's the description of the new ride.

The new queue videos feature Jurassic World actors Bryce Dallas Howard, Chris Pratt, B.D. Wong and information on the park's dinosaurs. Boats enter a covered aquarium with the large Mosasaurus on the large video screens. Timed splashes occur with the dino's splash and glass cracking. The boat continues into the herbivore area with Stegasaurus and Parasaur animatronics. Next is the Predator Cove, where the Indominus Rex recently escaped with ripped beams and large wall scratches. Claire (Bryce Dallas Howard) appears on video screens telling guests to relax before the video feed is cut off. As the boat enters the main building, Owen (Chris Pratt) next appears on the lift hill screens. The ceiling raptor pops at guests and a Dilophosaurus spits water at guests. We see the Velociraptor Blue, the large T-Rex head lunging at guests before the Indominus Rex and T-Rex roar at each other before the large drop. (The last bunch of dinos are new animatronics and apparently have an interesting time working since the ride re-opening).

For music, we hear the main theme from Michael Giacchino's Jurassic World score. In the opening aquarium scene, there is Giacchino underscoring and the main Jurassic World theme. This sounds like "As the Jurassic World Turns" from the album. The Jurassic Park theme (Williams) is heard in the herbivore area. There is more underscoring in the Predator Cove and T-Rex Kingdom building scenes but I'm unable to recognize the film cues. It's great to hear Giacchino's music in the park (you can much more of his at the Disney parks), and there's something still great about hearing the Jurassic Park theme piped through the entrance area.

With the combination of dinosaur animatronics and famous drop, these rides still thrill and soak crowds.

The Call of the Wild
Music composed by John Powell
Music conducted by John Powell
Additional music and arrangements by Batu Sener, Paul Mounsey
Music orchestrated by John Ashton Thomas, Mark Graham, Andrew Kinney, Randy Kerber, Rick Giovinazzo, Pete Anthony, Jon Kull, Jeff Atmajian
Music recorded at Newman Scoring Stage, 5 Cat Studios
Album running time: 67 minutes
Available on Hollywood Records (digital only)

A new John Powell score is a rare thing and even more when it's not animated. Like many, I was impressed with his recent score to Solo (2018) and his conclusion to the How to Train your Dragon trilogy. With The Call of the Wild, Powell reunites with director Chris Sanders (he directed the first Dragon). This is a live-action first for Sanders, and his other animated films have equally great scores by Alan Silvestri.

Taking place during the 1890's Yukon Gold Rush, Powell incorporates a lot of folk instruments and styles into the score. Wake the Girls opens with the folksy instruments - harmonium, accordion, banjo, whistle and fiddles. It's a lively introduction to the main theme for Buck which gets a few slight twists in the track. Train North sets a sinister and tense tone, with Buck's theme on horn before calm strings and choir join. Skagway, Alaska brings the folk instruments back with statements of Buck's theme used along the way. Snowy Climb adds a theme for the sled dog team which is often used in the action cues - but it's the soaring Buck's theme that takes over midway. Powell mixes the modern and folk in First Sledding Attempt, underscoring the dog team working together.

The Ghost Wolf of Dreams features some unique woodwind sounds to highlight the mystical wolf that Buck longs to be. Joining the Team is scored with mainly folk instrumentation, expanding on the working tune heard earlier and grows triumphant near the end. Ice Rescue brings the choir in for the tense and heroic moments and relaxes with a main theme statement.

Sometimes Nature's Cruel and Gods Fight underscores the fight between Buck and original lead dog Spitz. Much of the cue involves the large choir chanting and orchestra swirling. The album highlight is Buck Takes the Lead. Utilizing a mixture of themes, Powell is able to encapsulate this thrilling part of Buck's journey. The triumphant soaring version of the theme should bring a smile to many faces.

We Carry Love builds on the main theme with tender strings, guitar and woodwinds. The sentimental side continues with Couldn't Find the Words as we get to know Harrison Ford's John Thornton and his musical theme. The soaring version of Buck's theme also briefly returns. Overpacked Sled introduces the new greedy villain - with the folk instruments returning with a bit of dark growling atmosphere. It transitions to a lovely moment for strings and solo guitar. Newfangled Telegram gets some melancholic scoring as Buck must split from Perrault.

In My Bed? underscores the beginning of a friendship between Thornton and Buck, and we hear sweet statements of Thornton's theme. Buck & Thornton's Big Adventure is another fantastic album highlight. It passes between slow and unrestrained thematic statements of Buck's theme. Finding Bears and Love in the Woods continues Buck's journey in the wilderness with some lilting folk instrument writing. They're All Gone continues Thornton's material for guitar and piano and is simple and effective.

Rewilding is energetic right away with large brass and choir moments and Buck's theme at the end. Animal Nature is calm and reflective with woodwinds, strings and guitars. Come Say Goodbye has some emotional moments with Thornton's theme clashing with the sounds of the wilderness. What an Adventure opens with a string and guitar tremolo texture. It's a lovely musical payoff when the strings, choir and solo flute come in. The album ends with The Call of the Wild, full of large new arrangements of previous thematic material.

This score has really grown on me. I love the folk instrumentation that adds just enough flavor. In that regard it reminds me of the Celtic influences in How to Train Your Dragon (2010) and Spanish in the underrated Ferdinand (2017). But speaking of those, this score has so many melodic and harmonic Powell-isms that sound like little bits that fell off those scores. Your level of 'Powell sensitivity' may vary. Director Chris Sanders seems to understand film music - where does it work and how can it shine. There are several dialogue-less sections and montages that strongly feature the music and we should be thankful. One aspect of the music is to carry the emotional narrative of Buck. Yes, the CGI dog is much talked about, but Powell's music helps bring Buck to life.

Back to our musical score time machine! For this edition, we're looking at 1990! Here's a look back at the scores of the year with my list of the 10 Best Scores Turning 30!

Let's start the ranking!

10. Predator 2 (Alan Silvestri)

Silvestri, like the film itself, goes bigger and louder. Thematic ideas are generally built from the first film. He digs deep with jungle rhythms, powerful percussion and eerie noises. The action cues are clearly Silvestri's strengths here even if the overall package doesn't top the first film.

9. The Russia House (Jerry Goldsmith)

Goldsmith reworked parts of rejected scores for this spy thriller. There are hints of the Russian setting, but mainly relies on a mix of electronics and jazz trio. It's fairly laid back, but Goldsmith adds some of the sexuality and suspense through his score.

8. Days of Thunder (Hans Zimmer)

This score is a landmark for setting up Zimmer's action template. It also connected him to director Tony Scott and producers Don Simpson and Jerry Bruckheimer. Through the synths, wailing guitars and driving drums, it still sounds like the Zimmer we know now. The power anthems add to the racing thrills and remain delightfully entertaining.

7. Back to the Future Part III (Alan Silvestri)

Silvestri builds nicely on the musical ideas from the first two films. The biggest change comes from the wild west setting, which provides the fantastic new wild west theme. The theme for Clara is also delightful, in addition to the train climax. Silvestri puts a perfect bow on the trilogy.

6. Total Recall (Jerry Goldsmith)

Goldsmith really lets loose with this electronic and orchestral writing. The energetic action material matches the film's over-the-top futuristic atmosphere. The non action cues are still captivating, especially the finale.

5. Avalon (Randy Newman)

Newman's piano and string writing is nostalgic and bittersweet. There are some lovely waltz themes that get subtle variations through the score. It's this intimate and delicate writing that led to his lengthy relationship with Pixar.

4. The Hunt for Red October (Basil Poledouris)

Poledouris opens the score with a grand Russian-style choral piece. The theme is used through the score, which is full of orchestral bombast and dated electronic sequences.

3. Home Alone (John Williams)

Williams added much of the Christmas spirit to this holiday blockbuster. We get musical range with sentimental melodies, faux-Nutcracker, winking burglar material and original songs. Easily one of the most memorable and joyful Christmas scores.

2. Edward Scissorhands (Danny Elfman)

I can't imagine this film without this heart-warming score. Elfman's score found the magical balance set by Tim Burton. The haunting love theme with choir, Edward's loneliness and the strangeness of suburbia are all heard in this fairy tale.

1. Dances With Wolves (John Barry)

John Barry's sweeping score perfectly matches the gorgeous cinematography. The score is both epic and intimate. The lush romantic melodies of the John Dunbar and love theme are among the best Barry composed.

Honorable Mentions:
Awakenings (Randy Newman), Dick Tracy (Danny Elfman), Ghost (Maurice Jarre), Gremlins 2: The New Batch (Jerry Goldsmith), Joe Versus the Volcano (Georges Delerue), Nightbreed (Danny Elfman), Presumed Innocent (John Williams), Rescuers Down Under (Bruce Broughton), RoboCop 2 (Leonard Rosenman)

Any personal favorites of yours from 1990 that I didn't include?

Amazing Stories ran on NBC from 1985 to 1987. The anthology series was created and produced by Steven Spielberg and featured episodes of several genres. Lasting only two seasons, it has gathered a semi-cult following (only some of the episodes were released on VHS and only season 1 on DVD). But after years of reboot ideas, Amazing Stories returned in 2020 on Apple TV.

I don't typically dig into television too much, but this is possibly the show with the biggest film composer connection. Great directors (Tobe Hopper, Brad Bird, Clint Eastwood, Martin Scorsese, Robert Zemeckis, Joe Dante and Spielberg) among many others worked on the show. And with that, several great film composers of the 1980's added their score to the show.

Spielberg not surprisingly turned to John Williams for the Amazing Stories main title theme. Not his first TV work, Johnny Williams cut his teeth on several television shows in the early 1960's. Williams also scored the two Spielberg-directed episodes. The fantastic theme is fanfare-like and features a sweeping melody. It appears as the main titles for each episode, with a piano-led gentler rendition appearing at each end title. Thankfully, the theme is retained for the 2020 television return.

Here's the list of episodes and respective composers. Starred titles were released across Intrada Records' three soundtrack volumes.

Ghost Train (John Williams)*
The Main Attraction (Craig Safan)*
Alamo Jobe (James Horner)*
Mummy Daddy (Danny Elfman & Steve Bartek)*
The Mission (John Williams)*
The Amazing Falsworth (Billy Goldenberg)*
Fine Tuning (Jonathan Tunick)
Mr. Magic (Bruce Broughton)*
Guilt Trip (Stephen Dorff)
Remote Control Man (Arthur B. Rubenstein)*
Santa '85 (Thomas Newman)*
Vanessa in the Garden (Lennie Niehaus)*
The Sitter (Ken Wannberg)
No Day at the Beach (Leonard Rosenman)*
One for the Road (Johnny Mandel)*
Gather Ye Acorns (Bruce Broughton)*
Boo! (Jerry Goldsmith)*
Dorothy and Ben (Georges Delerue)*
Mirror, Mirror (Michael Kamen)*
Secret Cinema (Billy Goldenberg)*
Hell Toupée (David Shire)*
The Doll (Georges Delerue)*
One for the Books (Glenn Paxton)
Grandpa's Ghost (Pat Metheny)*
The Wedding Ring (Craig Safan)*
Miscalculation (Phil Marshall)
Magic Saturday (Ralph Burns)
Welcome to My Nightmare (Bruce Broughton)*
You Gotta Believe Me (Brad Fiedel)
The Greibble (John Addison)*
Life on Death Row (Fred Steiner)*
Go to the Head of the Class (Alan Silvestri)*
Thanksgiving (Bruce Broughton)*
The Pumpkin Competition (John Addison)*
What If...? (Billy Goldenberg)*
The Eternal Mind (Miles Goodman)
Lane Change (Jimmy Webb)
Blue Man Down (Brad Fiedel)
The 21-Inch Sun (Ralph Burns)
Family Dog (Danny Elfman & Steve Bartek)
Gershwin's Trunk (John Mayer)
Such Interesting Neighbors (David Newman)*
Without Diana (Georges Delerue)*
Moving Day (David Shire)*
Miss Stardust (John Mayer)

Here's another Scoring the Series - this time looking back at the Harry Potter films. Here are the credits to each film with some scoring photos tossed in.

Harry Potter and the Sorcerer's Stone (2001)
Music composed by John Williams
Conducted by John Williams
Orchestrated by Conrad Pope, Eddie Karem, John Neufeld
Recorded and mixed by Simon Rhodes
Recorded at Air Lyndhurst and Abbey Road Studios, London

Harry Potter and the Chamber of Secrets (2002)
Music composed by John Williams
Music adapted and conducted by William Ross
Orchestrated by Conrad Pope, Eddie Karem
Performed by the London Symphony Orchestra
Recorded and mixed by Simon Rhodes
Recorded at Abbey Road Studios, London

Harry Potter and the Prisoner of Azkaban (2004)
Music composed by John Williams
Conducted by John Williams
Orchestrated by Conrad Pope, Eddie Karem
Recorded and mixed by Shawn Murphy
Recorded at Abbey Road Studios, London

Harry Potter and the Goblet of Fire (2005)
Music composed by Patrick Doyle
Conducted by James Shearman
Orchestrated by Patrick Doyle, James Shearman, Lawrence Ashmore
Performed by the London Symphony Orchestra
Recorded and mixed by Nick Wollage
Recorded at Air Lyndhurst Studios and Air Edel Recording Studios

Harry Potter and the Order of the Phoenix (2007)
Music composed by Nicolas Hooper
Conducted by Alastair King, Nicholas Hooper
Orchestrated by Alastair King, Julian Kershaw, Geoff Alexander, Simon Whiteside, Bradley Miles
Performed by the Chamber Orchestra of London
Recorded and mixed by Peter Cobbin
Recorded at Abbey Road Studios

Harry Potter and the Half-Blood Prince (2009)
Music composed by Nicolas Hooper
Conducted by Alastair King, Nicholas Hooper
Orchestrated by Jeff Atmajian, Alastair King, Geoff Alexander, Simon Whiteside, Daryl Griffith
Performed by the Chamber Orchestra of London
Recorded and mixed by Peter Cobbin
Recorded at Abbey Road Studios

Harry Potter and the Deathly Hallows - Part 1 (2010)
Music composed by Alexandre Desplat
Conducted by Alexandre Desplat
Orchestrated by Conrad Pope, Alexandre Desplat, Nan Schwartz, Clifford J. Tasner, Jean-Pascal Beintus
Performed by the London Symphony Orchestra
Recorded and mixed by Peter Cobbin, Sam Okell
Recorded at Abbey Road Studios, London

Harry Potter and the Deathly Hallows - Part 2 (2011)
Music composed by Alexandre Desplat
Conducted by Alexandre Desplat
Orchestrated by Conrad Pope, Clifford J. Tasner, Jean-Pascal Beintus, Bill Newlin
Performed by the London Symphony Orchestra
Recorded and mixed by Peter Cobbin, Sam Okell
Recorded at Abbey Road Studios, London

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