Rls Date : Aug-08-2008
Street Date: Aug-08-2008
Rls Type : Soundtrack
Company : sonybmg
Genre : Soundtrack
Source : CDDA
Tracks : 32
Encoder : LAME 3.97 V2: preset standard
Quality : VBRkbps / 44.1kHz / Joint-Stereo
Bitrate : avg. 201kbps
01 OST – a galaxy divided – album version 01:13
02 OST – admiral yularen 00:57
03 OST – battle of christophsis 03:19
04 OST – meet ahsoka 02:45
05 OST – obi-wan to the rescue 01:24
06 OST – sneaking under the shield 04:25
07 OST – jabba’s palace 00:46
08 OST – anakin vs. dooku 02:18
09 OST – landing on teth 01:44
10 OST – destroying the shield 03:09
11 OST – b’omarr monastery 03:11
12 OST – battle strategy – album version 03:08
13 OST – the shield 01:37
14 OST – battle of teth 02:45
15 OST – jedi don’t run! 01:22
16 OST – obi-wan’s negotiation 02:08
17 OST – the jedi council 02:04
18 OST – ahsoka – album version 03:40
19 OST – jabba’s chamber dance 00:42
20 OST – ziro surrounded 02:20
21 OST – scaling the cliff 00:46
22 OST – ziro’s nightclub band 00:53
23 OST – seedy city swing 00:35
24 OST – escape from the monastery 03:13
25 OST – infiltrating ziro’s lair 02:22
26 OST – courtyard fight 02:41
27 OST – dunes of tatooine 02:00
28 OST – rough landing 03:04
29 OST – padm� imprisoned 00:50
30 OST – dooku speaks with jabba 01:28
31 OST – fight to the end 03:59
32 OST – end credits 00:51
________
67:39 Min
97,5 MB
The theatrical release of Star Wars: The Clone Wars
– the first-ever animated feature from Lucasfilm
Animation and the newest chapter in the ongoing
Star Wars Saga – will be accompanied by a deluxe
67-minute soundtrack album package (with exclusive
fold-out poster) that will be available at all
physical and digital outlets starting August 12th
through Sony Classical.
Star Wars: The Clone Wars � Original Motion Picture
Soundtrack will contain the iconic main theme by
John Williams, followed by more than 30 separate
music cues composed by Kevin Kiner. Kiner is known
for his work on such television series as Stargate
SG-1, Star Trek: Enterprise, Superboy and CSI:
Miami. Track titles (below) give a sense of the
action and scope and characters of the new film.
Star Wars: The Clone Wars is the first new chapter
in the Star Wars Saga since Star Wars: Episode III
Revenge of the Sith, which brought the live-action
Skywalker saga to a close. The Clone Wars falls
between Episode III and its predecessor, Star Wars:
Episode II Attack Of the Clones. The new film is
also the prelude to a weekly, animated prime-time
television series to premiere in the fall of 2008
on Cartoon Network, followed by airings on TNT.
Combining the legendary storytelling of Lucasfilm
and the Star Wars saga with the signature animation
style of Lucasfilm Animation, The Clone Wars
expands upon the crucial period during which the
Galactic Republic became an Empire.
http://rapidshare.com/files/135972214/VA-Star_Wars-The_Clone_Wars-2008-MOD.rar
I have a question, though:
Does this use John Williams’ score from the previous SW movies, or is it by a new artist with original music?
Thanks for the upload!
Star Wars: The Clone Wars – Original Motion Picture
Soundtrack will contain the iconic main theme by
John Williams, followed by more than 30 separate
music cues composed by Kevin Kiner. Kiner is known
for his work on such television series as Stargate
SG-1, Star Trek: Enterprise, Superboy and CSI:
Miami. Track titles (below) give a sense of the
action and scope and characters of the new film.
Oh, and it’s an amazing soundtrack. Absolutely incredible.
Kal
Kal
First and last track, and they are reprised versions of the intro and outro.
oh, and the new hope theme is reprised as well.
oh, and the new hope theme is reprised as well.
And a few more themes from the old trilogy!! The key is that the composer just use a very few notes and in other tones. But if you have the old scores in your mind, you can recognise them. It really has impress me a lot. Now I want to see the movie
Yes indeed. I just mentioned the intro, outro and New Hope theme because they’re the most recognizable.
I’m impressed. He is referencing several major Star Wars cues but brings in a fresh wind. Never would’ve believed that I ever here a rock guitar in a Star Wars movie soundtrack! Absolute marverlous. 10/10
When I first heard that one, I was absolutely blown out of the water.
The way he delicately weaves throughout the material is unbelievable. It’s so layered and rich, where it can often be broad and brassy one minute, then light and fun the next. Then he just totally blows the roof off with "Obi-Wan To The Rescue" and that wicked electric guitar that just knocks your freaking socks off. He revisits a lot of themes(one which almost sounds like a variation on the Sith theme from Knights Of The Old Republic in "A Galaxy Divided"), but puts his own very unique touch on them and essentially says, "imagine John Williams, but on steroids". When he does reprise a theme, he does so with such vigor and excitement, I have to wonder if he is a huge Star Wars geek. He is so loving with the themes in the way he plays them, like a kid playing with toys he’s finally old enough to have. And the final 30 seconds or so of "Fight To The End" just kills.
I don’t want to turn this into a big review, but I just had to spill about how breathtaking this score really is. As I said in a previous post, mega thanks to Abaddon for uploading it. It’ll be in rotation on my media player for a long time, I imagine.
Kal
Marvelous, superb, extraordinary. Certainly one of the best score of this year.
Thanks for this great post.
4 days till the movie hits cinemas.
Even though I partly agree, it’s nice to see other people get an opportunity, and it would be a severely large understatement if someone were to say that Klein disappointed.
That’s kinda harsh, don’t you think?
Not when I think I could do a better job.
Where are the themes and motifs? Even if the composer decided he didn’t want to imitate Williams, there’s no reason to completely ignore our beloved Star Wars tradition of interesting thematic development. And in some tracks the synths are completely unbearable, especially the trumpets.
This tends to happen when someone takes over for John Williams, for example, Ottman’s Superman Returns and Hooper’s Order of the Phoenix were also sub par.
Where are the themes and motifs? Even if the composer decided he didn’t want to imitate Williams, there’s no reason to completely ignore our beloved Star Wars tradition of interesting thematic development. And in some tracks the synths are completely unbearable, especially the trumpets.
This tends to happen when someone takes over for John Williams, for example, Ottman’s Superman Returns and Hooper’s Order of the Phoenix were also sub par.
Yes there is. After 6 movies and a million games where Williams music was recycled to hell I’m pretty much thankful they were going for something new. I think Lucas and his team FINALLY understood that the Star Wars universe needs to evolve to keep it fresh and exciting. Especially with the first and second generation (like myself) of fans getting older.
Change is good. Only god knows where we would stand if Star Trek would’ve always only used Alexander Courage.
Where are the themes and motifs? Even if the composer decided he didn’t want to imitate Williams, there’s no reason to completely ignore our beloved Star Wars tradition of interesting thematic development. And in some tracks the synths are completely unbearable, especially the trumpets.
This tends to happen when someone takes over for John Williams, for example, Ottman’s Superman Returns and Hooper’s Order of the Phoenix were also sub par.
Just because you can’t hear the new themes doesn’t mean they aren’t there. There’s plenty of new thematic material to be heard. Perhaps if you’d have listened closer instead of just instantly dismissing it as "rejected Media Venture cues"(a horribly inaccurate statement), you’d have noticed them.
Kal
The Media Ventures synth sound is NOT something new. It’s something overused and even more mundane than anything Williams has written.
Change is good. Only god knows where we would stand if Star Trek would’ve always only used Alexander Courage.
Goldsmith and Horner both used Courage’s themes and wrote several new ones, making the best scores to the Star Trek movies to date. If Kiner had any sense, he would have similarly built on Williams’s strong foundation and gone from there.
Just because you can’t hear the new themes doesn’t mean they aren’t there. There’s plenty of new thematic material to be heard. Perhaps if you’d have listened closer instead of just instantly dismissing it as "rejected Media Venture cues"(a horribly inaccurate statement), you’d have noticed them.
There is no new thematic material except for that little rip on Goldsmith’s 13th Warrior theme near the beginning of the CD (I forget which track.) If you can point out where you think there is new thematic material being developed, I’d be interested in hearing your take on it. I just think that even if there is some semblance of theme in this score, the tracks are just way too short and disoriented to develop them meaningfully and traditionally.
Like most Media Ventures scores, it’s a forgettable score that breaks no new ground and relies heavily on synths and special effects from the orchestra. Maybe the film doesn’t call for Williams’s magic, and I can live with that. But to write a Star Wars score and not even be as thematically concise as The Dark Knight, well, come on.
But it doesn’t mean Kiner is bad or did a bad job. This score is excellent by itself, clearly superior to most scores coming out these days, and not even slightly comparable to Media Ventures.
We can feel Kiner thinking : "Hey dude! I’m scoring a Star Wars score, dude!!!" He puts all his guts into this. The result is a score full of enthusiasm and energy, because he wants to impress and to be kept as a composer for upcoming Star Wars scores.
Edit : AHAHA, yes, also heard Goldsmith’s 13th Warrior theme in track 12.
What enthusiasm and energy? The synth parts or the boring electronic parts or the parts with wailing female vocals or the parts with the stereotypical duduk in the desert scene? The only parts that had energy were the few orchestral tracks that weren’t padded with special effects. It’s a paint-by-numbers score that contains no originality and only serves as ambient background noise.
And those trumpets, man, they’re just laughably bad. What used to be the best part of a Star Wars score just became the most irritating part. How could anyone let some of these tracks pass for a Hollywood film score let alone Star Wars movie?
I’ll listen to it again much more closely and tell you again what I think later.
Take track 10, for example. Admittedly one of the better tracks on the album, right? But what’s with all these cliched loops going on in the background? Did they really need to be there? Did they add anything to the music? And what about the track made it inherently "Star Wars: The Clone Wars" as opposed to "generic orchestral action cue?" Was there any thematic or motivic consistency? Any distinctive feature that connected it to the rest of the score?
Track 20 is also another well-orchestrated track and sounds very Elfman-ish (sans the xylophone/piccolo trills that come directly from Williams.) At 1:16 there is this neat gliss-like figure in the cellos, like it could be a motif. Actually, it’d work great as a bad guy theme, if only it was used more often. The problem is that there is no continuity (or that this release is missing a lot of cues from the film.)
In track 25 there is this motif in the muted trumpets over these chromatic string lines that again seems isolated from the rest of the score. Funnily enough, this track is surrounded by two very Media Ventures-like tracks (24 and 26) that practically fence off the muted trumpet motif as if to say "You’re not hip enough to be included elsewhere in this soundtrack. Go find some beatz."
There is no more Media Ventures. They are now called Remote Control. Cool name and fits them perfectly – if U know what I mean;). And about this score. It has some cool tracks, energetic and fresh. Not fresh in a music way but fresh for Star Wars. Everything needs a bit of freshness, so does Star Wars. And as I see, U R fan of SW, and for you SW doesn’t exist without John… One more thing, it is a score to animated movie that was made for TV. Yes, I know, it hits cinemas this week or another, but it was made for TV! Lucas said that he want it in cinemas – fucker, too him everything is just money. He raped original SW doing the second trilogy just for money. Only Attack of the Clones was good film… Anyway, this score isn’t bad, it’s fun to listen, I can feel here SW and I’m sure that it will work well in movie. But after all, I don’t care bout this flick;).
It seems to me that this is mostly an orchestral score cause I don’t hear so many synths or fake percussion like streich is saying. If you listen to a media ventures soundtrack the reliance on synths is much heavier. Like ‘The Dark Knight’ for instance. I saw the ‘The dark night’ making of soundtrack video and it seems they recorded everything with a big orchestra. It’s strange that in the end product you cant hear any real orchestra anymore…
I didn’t know that, and now I wonder if it originally being for TV factored into their decision for what kind of score (music budget) it should receive.
I didn’t hear the full soundtrack yet. Just the compilation suite on http://scorenotes.com/suites.html like I always first do.
It seems to me that this is mostly an orchestral score cause I don’t hear so many synths or fake percussion like streich is saying. If you listen to a media ventures soundtrack the reliance on synths is much heavier. Like ‘The Dark Knight’ for instance. I saw the ‘The dark night’ making of soundtrack video and it seems they recorded everything with a big orchestra. It’s strange that in the end product you cant hear any real orchestra anymore…
Tracks like 08-Anakin vs Dooku are entirely synthesized to sound like a real orchestra (plus synth effects) but sound terrible to my ears and not nearly as refined as Jeremy Soule’s work for Knights of the Old Republic. There are other tracks that bear the mark of amateurish sampling, but I’m too tired to go through the score again and pick them out. Let’s just say that the real orchestra stuff is good but they get a slap on the wrist for trying too hard to appeal to youths by techno-ing it up.
How was it?
Expanding the Star Wars Universe: Kevin Kiner in the Clone Wars
http://www.buysoundtrax.com/larsons_soundtrax.html
That’ll give you much to discuss.
a) This is rubbish. It’s less rubbish than it could’ve been, but that doesn’t mean it’s not rubbish. It has moments where it is barely tolerable, even very few moments of vague inspiration. But masterpiece? Best ever? C’mon folks, that’s the kind of contemporary mentality that says every band, every movie, is the best EVER… until the next one comes out. Be bigger than this. This score is following six of the most well respected orchestral film scores of all time, for Christ’s sake…
b) Kiner is NOT Williams. When I say that, I don’t just mean the obvious – that they are different composers with different styles. I mean that Kiner’s talent, ability, experience, style, etc, is nowhere near that of Williams. I’m not a mad Williams fanboy who obsesses over Star Wars and thinks that Williams is God. I simply acknowledge that going from Williams to Kiner is like going from Van Gogh to some silly kid ruining your wallpaper with crayon.
c) This is one of the most horrifically bad recordings I have ever heard. Even in the orchestral sections, it sounds terrible. What with throwing on the obligatory dose of synthy overdubs, that seals its fate.
That said, I think it’s a little unfair to write it off as Media Ventures. A comparison to Zimmer Co is highly offensive to all but the most base of dreck merchants. This is bad, but it doesn’t deserve that. However, I entirely appreciate the strength of feeling behind it. Streich is, as I am, a man who has absolute, unwavering respect, and love, for the traditions of symphonic film scoring. He listens for detail, that goes far deeper than what you get on the surface. That kind of detail is what made Star Wars great – the fact that it wasn’t just big orchestral bluster – every note meant something, every single note. Everything was there because it was supposed to. In dire comparison, Kiner’s effort is – like almost all scores of today, and like all MV efforts, a here-and-now, all-climax-and-no-foreplay, superficially functional but artistically void piece of work. If the MV comparison doesn’t work entirely when considering the sonic tapestry of this score, it certainly does with compositional technique, intent, role, and quality.
I suspect his reaction would’ve been considerably less had this not been the score that it is. A polished turd amongst common turds can be praised upon its own merits. But a polished turd amongst precious diamonds – and one which is being compared favourably to the diamonds by folk who (without wishing to be unkind) are unqualified to tell the difference, MUST be discussed in the strongest possible terms.
His comments (and mine on similar topics) aren’t borne of arrogance, snobbery, mindless nostalgia, or a bias towards older music.
They are recognition that this score simply does not exhibit the same quality as those by Williams, and laments the musical society in which we live, that allowed the birth and success of such a superficial score.
In fact my first judgement was a bit precocious. I only listened to this in the background while doing something. When you listen to it this way it sounds very good, much action, much rythm.
But after Streich’s rather provocative remark, I listened to this carefully and indeed it’s mostly superficial, it’s a functional score who tries to imitate Williams without being original, with almost no noticeable original theme or clever development.
I have no choice but to admit that I was wrong (grumbles). But still it’s superior to most action scores coming these days, which says a lot about the state of film music today.
Ren� Descartes (1596 – 1650)
If you want to score movies, preferably big, epic, hollywoodian movies, you’ll have to adapt and cope with movie scoring as it is. It’s sad but it’s who has the money who has the power. And as I told you before producers aren’t music lovers or a musicologists, but money makers. You’ll have to swallow your pride and idealism and execute blindly their directions.
Sigh…
Wow I made no sense there. If anyone understands(hopefully) is there a COMPLETE score on this film?
Oh wait, he did:
The Adventures of Tintin: The Secret of the Unicorn (http://www.imdb.com/title/tt0983193/fullcredits)
JonC
Wow I’m late, thankies!
Now we need a complete Anakin vs. Dooku score and I will be happeh 8)
YouTube – Anakin Skywalker vs Count Dooku (http://www.youtube.com/watch?v=fUMouMSzG0c)
I really liked that last bit.
I also love the Williams scores, but who doesn’t?
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