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I've still got my original lp of this from June, 1980. I need to burn it. It's in perfect condition, a little scruffy on the cover...
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What were these? Now i'm interested...
He's just talking about "album presentation."
You know how Williams likes to edit his scores into "pleasant listening experiences" for the LP / CD, and will sometimes combine similar-subject music from different parts of the movie into one track, for consistency of style.
The real treat is when this practice leads to his composing "connecting material" or "album arrangements," which you can only hear on the resulting album, and not in the film.
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What were these? Now i'm interested...
He's just talking about "album presentation."
You know how Williams likes to edit his scores into "pleasant listening experiences" for the LP / CD, and will sometimes combine similar-subject music from different parts of the movie into one track, for consistency of style.
The real treat is when this practice leads to his composing "connecting material" or "album arrangements," which you can only hear on the resulting album, and not in the film.
I know but I'm curious about what those two tracks were--what cues were combined, and what it sounded like. 
Very good. I used to jam it loud in my '86 Honda Prelude on the freeway. On tape, of course.
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The CD version originally released, the one that had the End Title in the middle of sequencing, contained only half the tracks from the double LP.
FYI, this release used a master that was used to press the RADIO STATION PROMO RELEASE of the score, this version was only supposed to go out to radios stations to promote the film.
When it came time to do the CD, someone decided to use this version since the 2 LP version would not fit on a single CD (back in those days the time was ony 74 minutes) and they didn't want to put out a 2CD set at that time.
Ford A. Thaxton
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The Empire CD was also out of order, so that end title was placed in the middle of the CD, and then immediately followed by the Main Title. 
The CD presented Side 2 first, which is why the end title immediately precedes the main title.
Neil
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I bought my copy in WH Smiths in Leicester in the summer of 1982. I knew it had to be an import, thanks to the review by Mat Irvine in "Starburst" magazine a couple of years before. I'd seen plenty of copies of the (UK) single album, but I'd been holding off buying it on the off chance of finding the US import (those were the days, when you could afford to play the long game? Now, if you don't snap up what you want right away, it's gone forever within a fortnight!). I think I only paid about £8.99 for it (pricey in those days, but not prohibitive).
Funnily enough, I was thinking of putting it up on eBay. It's a beautiful presentation, with the artwork and liner notes. Only the LOTR Complete Recording box sets come close to duplicating that standard of album presentation (but only if you download the Annotated Score pdfs), which we used to take for granted back in the days of vinyl. I struggle to read the fine print in CD booklets, these days.
Ah, nostalgia ain't what it used to be!
Simon
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Posted: |
Oct 10, 2008 - 6:06 PM
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By: |
Tom Servo
(Member)
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What were these? Now i'm interested...
He's just talking about "album presentation."
You know how Williams likes to edit his scores into "pleasant listening experiences" for the LP / CD, and will sometimes combine similar-subject music from different parts of the movie into one track, for consistency of style.
The real treat is when this practice leads to his composing "connecting material" or "album arrangements," which you can only hear on the resulting album, and not in the film.
I know but I'm curious about what those two tracks were--what cues were combined, and what it sounded like.
Sorry about the delay in replying to this very good question...
The "Heroics of Han & Luke" track on the original LP opened with the cue for Luke trapped in wampa cave, getting his lightsaber and escaping... the cue was edited down, then jumped to music of Han preparing to go out and find him and the final part of the track is the cue for Han, Leia, Chewie and C3PO racing to the Falcon on Hoth and escaping the Imperials.
As for "Rebels at Bay", it opens with the cue underscoring the snowspeeders searching for Han & Luke, then at 1:45 mark it segues to the "Luke's First Crash/Beneath the AT-AT" portion of the Hoth battle sequence. A really great track on that original album, these two cues simply made so much sense crossfading together for some reason...
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