Close Encounters Of The Third Kind – John Williams

Close Encounters Of The Third Kind soundtrackJohn Williams’ first project after the universally-acclaimed Star Wars soundtrack couldn’t have been much more different from George Lucas’ space opera. Williams provided some very challengingly abstract music, as well as some wonderfully intelligent melodies, for Steven Spielberg’s definitive UFO film Close Encounters Of The Third Kind.

It could be argued that, with the cacophonous bursts of atonal sound that occur frequently in the first half of the movie, Williams ventured into more mature musical territory than he did with Star Wars, but he also created plenty of memorable motifs, which took over the bulk of the score as Richard Dreyfuss’ character embarked on a quest to find the truth.

Included on the CD is the complete end suite in which aliens and humans attempt to communicate with one another through a musical sequence almost sounding like dueling tubas. Though it has been re-recorded on various soundtrack collections (among them Silva’s Space and Beyond), the original has a unique sound and stands out as one of the highlights of both movie and soundtrack.

The extensive final cue, which picks up when human test pilots volunteer to serve as “exchange students” – leaving Earth aboard the aliens’ ship to learn about their culture – and continuing right on through the end credits, contains some of the most memorable and beautiful music ever created for a film. The gentle rendition of “When You Wish Upon A Star” surprised me when I first heard it, but it also fits perfectly, lending 4 out of 4an air of innocence to the benign alien encounter, a nice shift away from the abstract horror of the movie’s first reel.

I can’t recommend this soundtrack highly enough.

Order this CD

  1. Opening – Let There Be Light (0:46)
  2. Navy Planes (2:07)
  3. Lost Squadron (2:23)
  4. Roy’s First Encounter (2:41)
  5. Encounter At Crescendo Summit (1:21)
  6. Chasing UFOs (1:18)
  7. False Alarm (1:42)
  8. Barry’s Kidnapping (6:19)
  9. The Cover-Up (1:26)
  10. Stars And Trucks (0:44)
  11. Forming The Mountain (1:50)
  12. TV Reveals (1:50)
  13. Roy And Gillian On The Road (1:10)
  14. The Mountain (3:31)
  15. Who Are You People? (1:35)
  16. The Escape (2:18)
  17. The Escape – alternate cue (2:40)
  18. Trucking (2:01)
  19. Climbing The Mountain (2:32)
  20. Outstretch Hands (2:48)
  21. Light Show (3:43)
  22. Barnstorming (4:26)
  23. The Mothership (4:34)
  24. Wild Signals (4:12)
  25. The Returnees (3:45)
  26. The Visitors / Bye / End Titles: The Special Edition (12:31)

Released by: Arista
Release date: 1978 (special edition released in 1998)
Total running time: 77:21

Star Wars Episode I: The Phantom Menace

Star Wars Episode I: The Phantom MenaceLadies and gentlemen, John Williams is back, and so is the universe of Star Wars. Many fans have been biting their nails over this element of the new movie, perhaps in fear that John Williams has lost his touch…but this film score proves that he has not. If anything, ever since I heard Williams’ music from Oliver Stone’s JFK and Nixon, I have been curious as to what the next Star Wars movie’s music would sound like – that is, if George Lucas ever got around to making the next movie.

In short…does the John Williams score for The Phantom Menace live up to the music from the original trilogy? Yes, it does. Given that this new film takes place a generation prior to the adventures of Luke Skywalker, in a complacent but basically pleasant galaxy that has yet to experience the horrors of Darth Vader or the Empire, the music is in a different vein. The constant military action in the original Star Wars trilogy demanded military music. But this “earlier” age in George Lucas’ fictional chronology, where the Jedi Knights are very much alive and well rather than legends of a bygone era, calls for more mysterious, and in some cases almost majestic music. Now, don’t become too alarmed – there is action music out the wazoo, and there are marches, and listening the The Phantom Menace soundtrack in the car may indeed give you the subliminal urge to dry to drive at hyperspace-worthy speeds.

To sum it up before we break down the entire CD track-by-track, John Williams knew what was expected of his music. The audience – and Lucas – wanted the immortal Star Wars/John Williams sound…as well as new surprises. And The Phantom Menace soundtrack does not disappoint in that regard.

Main Title / Arrival at Naboo: The familiar Star Wars signature theme opens the movie, instantly validating it as a real part of the storyline and turning us all into five-year-olds again, if only for a couple of minutes. Even before seeing the movie, I got chills from listening to this familiar tune segue into a new piece, a chunk of an adventure I had yet to experience. “The Arrival at Naboo” portion of this track follows the Star Wars main title tradition of opening up mysteriously and building up energy toward the end of the cue.

Duel of the Fates: This is the same piece which has been getting radio, MTV and VH-1 airplay. It’s this movie’s the equivalent of “The Imperial March” – a familiar theme which is woven throughout the fabric of the rest of the score, and at least one interview with George Lucas and John Williams has leaked out that this piece may underscore the final duel (we all know which one that will be) in the third prequel…so we can once again count on Lucas reverting back to the Return of the Jedi practice of occasionally tracking his new films with well-worn music. I have a love-hate relationship with “Duel of the Fates” – its primary choral motif is compelling and very memorable, but when the music slumps back into the low, menacing string rumble that seems to take forever to rebuild to the choral refrain, it seems as though the music has stopped short, never quite developing that motif further.

Anakin’s Theme: Wistful and nostalgic, “Anakin’s Theme” all but demands that we love Anakin Skywalker, for who but the most selfless and gentle child in the galaxy could merit such a nice theme tune? I’m a little mixed on this piece – it is very nice, don’t get me wrong, but I’m on the fence about the dubious merits of quoting “The Imperial March” from The Empire Strikes Back – a.k.a. Darth Vader’s theme – when virtually everyone knows that Anakin will become Vader in a matter of a few decades.

Jar Jar’s Introduction / The Swim To Otoh Gunga: Somewhere between Jawa music and Ewok music falls Jar Jar’s loping, comedic theme, very appropriate for his character. This theme literally dives into the flowing, mystical, and very choral music for the underwater trip to the Gungan city. I love this piece – the mysterious choral work reminds me a great deal of one of my all-time favorite instrumental pieces, Holst’s “Neptune” from The Planets. Williams provides music that really does flow over one like water, with appropriate tonal and atonal “undulations,” with an end result very much unlike anything in the original Star Wars trilogy. This is one of my favorite cues from the new movie.

The Sith Spacecraft / The Droid Battle: Opening with a classic terror-movie windup, this cue quickly jumps into a loud, threatening march, punctuated by a string quote of “Duel of the Fates”‘ primary motif.

The Trip to the Naboo Temple / An Audience with Boss Nass: After an opening crash, “The Trip to the Naboo Temple” moves forward with a low, menacing rhythm, worthy of an army of Battle Droids, but things lighten up considerably with some triumphant moments courtesy of our heroes. The music becomes, in turn, light-hearted and mysterious for “An Audience with Boss Nass” (the Gungan ruler voiced by Brian Blessed, who has guest-starred in virtually everything that has even been produced in Britain).

The Arrival on Tatooine / The Flag Parade: Opening up with an uncertain statement of Queen Amidala’s theme and another light-hearted hint of Jar Jar’s musical signature, things quickly get more serious. After a brief pause, a cue from later in the movie – a boisterous march marking the beginning of Jabba the Hutt’s Boonta Eve Podrace – kicks in. I rather like “The Flag Parade” – its combination of military bombast and oppressively heavy progressions gives it an air of a march in the Russian classical tradition.

He Is The Chosen One: A quiet and mysterious piece, this cue accompanies Qui-Gon’s growing suspicion that young Anakin Skywalker is destined for greater things. The Force theme, which was originally associated with Obi-Wan in the first movie’s score, leads into a sweeping flourish, which then decreases in intensity and leads to a restatement of “Anakin’s Theme”, followed by more uncertain “mystery” music. The cue closes out with a triumphant blast from the brass section.

Anakin Defeats Sebulba: This relentless action cue is also from the Podrace scene, right in the thick of the action. Things start out quietly, including another statement of the Force theme, which segues into something that sounds like an extension of “The Flag Parade” (which is placed later on the CD, but earlier in the film). Menacing “trouble” music and several quotations of “Anakin’s Theme” are heard. I’m sure this track will top several fans’ lists of their favorite Episode I musical moments, especially when the accompanying visuals are among the movie’s most dazzling sequences.

Watto’s Deal / Kids At Play: An almost atonal choral introduction leads into a very threatening-sounding passage which includes some ethnic-sounding reed elements. The music becomes only slightly less heavy with “Kids At Play”, which includes another choral moment, this one more mystic than menacing, though the music then proceeds to get much darker and more action-oriented.

Passage Through The Planet Core: Opening with more music reminiscent of Holst’s “Neptune”, things stay dark and murky for almost three minutes until a very nice statement of the Force theme. It seems that the latter 2/3 of this track must include music from other scenes in the movie, because “Anakin’s Theme” and more of Jar Jar’s amusing theme can be heard.

Panaka and the Queen’s Protectors: This swashbuckling number contains, aside from the opening seconds of the main theme, the only restatement of the Star Wars theme within the body of the movie – and you’ll miss it if you blink. Some almost Raiders of the Lost Ark-like moments punctuate the barrage of action music, until a quiet and percussive interruption intrudes, but the heroic antics quickly return, even more light-hearted than before.

Queen Amidala / The Naboo Palace: Unusually, given the title of this track, the music we first hear is very dark indeed, eventually leading to a rather romantic reading of “Anakin’s Theme”, followed by the return of the soaring fanfare heard toward the end of track 1. But this time, the fanfare is followed by some quiet, occasionally sinister music, culminating in a downbeat burst of orchestral fury.

The Droid Invasion / The Appearance of Darth Maul: A percussive intro similar to the opening seconds of track 4 is followed by an angry, oppressive march. But the real treat here is “The Appearance of Darth Maul”, which opens with several wavering, droning, falling notes, and then presents us with a rendition of what we previously knew as “The Emperor’s Theme” from Return of the Jedi, but given an even heavier treatment, with more prominent choral overtones than the previous film’s version of the same theme. It’s now likely that this isn’t the theme for Palpatine, but for the Sith Lords as a whole, since one of The Phantom Menace‘s inferences is that the Emperor, in the original trilogy, was the senior Sith Lord, fulfilling the role that Darth Sidious plays in this movie, pulling the strings as his younger apprentice did the footwork.

Qui-Gon’s Noble End: Possibly the best piece of music on the entire Episode I soundtrack, this number opens up at full throttle and keeps building the energy from there with a dark, militaristic battery of percussion. Of all the cues Williams composed for The Phantom Menace, it is this one which reminds me the most of his best work for the previous Star Wars trilogy. I would much rather have heard this released as a single than “Duel of the Fates”, since this cue takes the “Duel” theme and develops it fully. The silences are scary, and the thunderous full-blast moments are even scarier. Perhaps the biggest surprise is that it ends very quietly. This cue and “The Swim to Otoh Gunga” almost justify the purchase price of the album by themselves.

The High Council Meeting / Qui-Gon’s Funeral: Opening gently, and including a brief statement of Yoda’s theme from The Empire Strikes Back, followed by the only full statement of “The Imperial March” from the same movie (rather than the small hint of it built into “Anakin’s Theme”). This track gradually darkens as it segues, at the two-minute mark, into the funeral dirge for Liam Neeson’s fallen Jedi Knight, including a very effectively mournful statement of the Force theme and some beautiful choral moments, finally coming to a frighteningly uncertain end as the other Jedi contemplate the future of the boy that Qui-Gon brought into their fold before he fell.

Augie’s Great Municipal Band / End Title: I’ve already seen newsgroup and web site reviewers complaining about the two and a half minutes that open this cue, but I think it’s rather cute. A raucously brassy piece with children’s choir accents opens the proceedings, reminding one very much of Return of the Jedi‘s “Ewok Celebration”. Where the Ewok party jam sounded primitive and tribal, “Augie’s Great Municipal Band” comes across as almost Caribbean – the only thing missing is steel drums. The music reaches a brief climax and jumps into the traditional Star Wars end title suite, which adds a small twist to the main theme and then cuts off abruptly just before a “Duel of the Fates” reprise. After the “Duel” reprise ends, we slide into “Anakin’s Theme”, which leads to the biggest contrast to the 4 out of 4original trilogy’s end title suites. Instead of crashing into a triumphant flourish as the three original movies did, this suite closes with a quietly menacing reiteration of the “Imperial March” quote from “Anakin’s Theme”. In retrospect, The Phantom Menace‘s musical conclusion is much more like that of Williams’ music for JFK or Nixon.

Order this CD

  1. Main Title / Arrival at Naboo (2:55)
  2. Duel of the Fates (4:14)
  3. Anakin’s Theme (3:09)
  4. Jar Jar’s Introduction / The Swim To Otoh Gunga (5:07)
  5. The Sith Spacecraft / The Droid Battle (2:37)
  6. The Trip to the Naboo Temple / An Audience with Boss Nass (4:07)
  7. The Arrival on Tatooine / The Flag Parade (4:54)
  8. He Is The Chosen One (3:53)
  9. Anakin Defeats Sebulba (4:24)
  10. Watto’s Deal / Kids At Play (4:57)
  11. Passage Through The Planet Core (4:58)
  12. Panaka and the Queen’s Protectors (3:24)
  13. Queen Amidala / The Naboo Palace (4:51)
  14. The Droid Invasion / The Appearance of Darth Maul (5:14)
  15. Qui-Gon’s Noble End (3:48)
  16. The High Council Meeting / Qui-Gon’s Funeral (3:09)
  17. Augie’s Great Municipal Band / End Title (9:37)

Released by: Sony Classical
Release date: 1999
Total running time: 74:15

Return Of The Jedi – music by John Williams

Return Of The Jedi soundtrackI’m still not sure what to think of this one. I’ve always suspected that I liked Return Of The Jedi – both the movie and music – more than most people do. It’s become fashionable to blast Jedi for a crime no worse than featuring the Ewoks (but hey, so long as George Lucas never again does anything with Howard The Duck, I don’t give a crap if he loads Star Wars Episode III with a malicious herd of Jedi-slaying Ewoks doing the bidding of Emperor Palpatine). Jedi also has the dubious distinction of being one of the two films from the original trilogy which received the most extensive revisions when Lucas unleashed the Special Editions in 1997 – and from a musical standpoint, Jedi was revised quite extensively indeed.

For one thing, the Sy Snootles Band number Lapti Nek (still available on the Jedi portion of the Star Wars Anthology) was replaced by a new tune, “Jedi Rocks”, executed in an even more cartoonish style. I’ll be the first to admit that I only fail to skip “Lapti Nek” on CD once a decade, but “Jedi Rocks” really gets on my nerves. I find it doubly irritating since John Williams himself didn’t even compose it.

The other major musical revision occurs at the end of the movie. New CGI scenes were grafted into the Ewok celebration showing victory/freedom shindigs taking place in other parts of the galaxy, from Tatooine to Coruscant. This then leads into a radically different outcue leading into the end credits – but truth be told, even though I prefer the original music from the movie, I like the new piece of music on its own. And I have a feeling we’re going to hear it again in the new trilogy as a theme for Anakin Skywalker.

3 out of 4 starsFor me, personally, the jury’s still out on the “tweaked” versions of the Star Wars films – as well as their soundtracks. This one would’ve gotten four stars, but “Lapti Nek” and the original version of the final cue leading into the end credits weren’t even included as archival bonus tracks. I only let Lucas off the hook so much for his revisionist filmmaking.

    Order this CD in the StoreDisc one:

  1. 20th Century Fox Fanfare (0:22)
  2. Main Title / Approaching Death Star / Tatooine Rendezvous (9:21)
  3. The Droids Are Captured (1:17)
  4. Bounty For A Wookiee (2:50)
  5. Han Solo Returns (4:01)
  6. Luke Confronts Jabba / Den Of The Rancor / Sarlacc Sentence (8:51)
  7. The Pit Of Carkoon / Sail Barge Assault (6:02)
  8. The Emperor Arrives / The Death Of Yoda / Obi-Wan’s Revelation (10:58)
  9. Alliance Assembly (2:12)
  10. Shuttle Tyderium Approaches Endor (4:09)
  11. Speeder Bike Chase / Land Of The Ewoks (9:38)
  12. The Levitation / Threepio’s Bedtime Story (2:46)
  13. Jabba’s Baroque Recital (3:09)
  14. Jedi Rocks (2:42)
  15. Sail Barge Assault – alternate (5:04)
    Return Of The Jedi soundtrack - 2004 re-releaseDisc two:

  1. Parade of the Ewoks (3:28)
  2. Luke and Leia (4:46)
  3. Brother and Sister / Father and Son / Fleet Enters Hyperspacee… (10:40)
  4. The Emperor’s Throne Room (3:26)
  5. Into The Trap / Forest Ambush / Scout Walker Scramble… (11:50)
  6. The Lightsaber / The Ewok Battle (4:31)
  7. Leia Is Wounded / The Duel Begins / Overtaking The Bunker… (10:03)
  8. Superstructure Chase / Darth Vader’s Death / Main Reactor (6:04)
  9. Leia’s News / Light Of The Force (3:24)
  10. Victory Celebration / End Title (8:34)
  11. Ewok Feast / Part Of The Tribe (4:02)
  12. The Forest Battle – concert suite (4:05)

Released by: RCA/Victor
Release date: 1997
Disc one total running time: 73:16
Disc two total running time: 74:47

The Empire Strikes Back – music by John Williams

The Empire Strikes Back soundtrackStill John Williams’ most towering musical accomplishment bar none, the score from The Empire Strikes Back has long existed in various stages of incompleteness – until now. One of the few truly good things to come out of the special edition releases it this comprehensive two-disc remastered version of the soundtrack. Correcting all of the gaps and curious omissions of previous releases, it’s also the soundtrack (and the film) that was screwed with the least of the classic trilogy. (If I recall correctly, Empire‘s big revisions were a major cleanup of the Hoth battle special effects, the Wampa got a facelift, lots of new windows were installed in Cloud City, and a single non-sequitur scene with4 out of 4 stars Darth Vader was added.)

I’ve already waxed rhapsodic about this one in the past. Do get it. I know some purists have avoided anything to do with the special editions, but this version of the Empire soundtrack proves that some good can come out of the least likely things.

    Order this CD in the StoreDisc one:

  1. 20th Century Fox Fanfare (0:22)
  2. Main Title / The Ice Planet Hoth (8:09)
  3. Wampa’s Lair / Vision Obi-Wan / Snowspeeders Take Flight (8:44)
  4. The Imperial Probe / Aboard The Executor (4:24)
  5. The Battle Of Hoth (14:48)
  6. The Asteroid Field (4:15)
  7. Arrival On Dagobah (4:54)
  8. Luke’s Nocturnal Visitor (2:35)
  9. Han Solo and the Princess (3:26)
  10. Jedi Master Revealed / Mynock Cave (5:44)
  11. The Training Of A Jedi Knight / The Magic Tree (5:16)
    The Empire Strikes Back soundtrack - 2004 re-releaseDisc two:

  1. The Imperial March: Darth Vader’s Theme (3:02)
  2. Yoda’s Theme (3:30)
  3. Attacking A Star Destroyer (3:04)
  4. Yoda And The Force (4:02)
  5. Imperial Starfleet Deployed / City In The Clouds (6:04)
  6. Lando’s Palace (3:53)
  7. Betrayal At Bespin (3:46)
  8. Deal With The Dark Lord (2:37)
  9. Carbon Freeze / Darth Vader’s Trap / Departure of Boba Fett (11:50)
  10. The Clash Of Lightsabers (4:18)
  11. Rescue of Cloud City / Hyperspace (9:10)
  12. The Rebel Fleet / End Title (6:28)

Released by: RCA/Victor
Release date: 1997
Disc one total running time: 62:43
Disc two total running time: 61:44

Star Wars – music by John Williams

Star Wars soundtrackLet’s have a show of hands. How many people became soundtrack-collecting addicts after listening to the original Star Wars soundtrack on vinyl approximately seventeen gazillion times in the 1970s? Thought so. Not only is George Lucas credited with salvaging the science fiction film genre from the clutches of pretentious high-concept 2001 wanna-bes and B-movies, but John Williams is credit for reinvinting the art of scoring movies. With Star Wars, it shows – the London Symphony Orchestra is in fine form, and seldom has a composer so thoroughly (or correctly) assessed the dramatic and emotional needs of the movie’s score.

This is the 1997 re-re-re-release, which was unleashed not only to cash in on the premiere of the Special Editions of the original trilogy, but to put the complete score, every note of music recorded for the entire movie, on the record for soundtrack fans. There’s even music that wasn’t heard in the movie:4 out of 4 stars some bonus archival material is included at the end of disc one’s final cut, with several alternate takes of the main theme – but after hearing the umpteenth take on this track, one’s ready to skip to disc two and leave the endless alternate takes to the music students.

    Order this CD in the StoreDisc one:

  1. 20th Century Fox Fanfare (0:23)
  2. Main Title / Rebel Blockade Runner (2:14)
  3. Imperial Attack (6:43)
  4. The Dune Sea of Tatooine / Jawa Sandcrawler (5:01)
  5. The Moisture Farm (2:25)
  6. The Hologram / Binary Sunset (4:10)
  7. Landspeeder Search / Attack Of The Sand People (3:20)
  8. Tales Of A Jedi Knight / Learn The Ways Of The Force (4:29)
  9. Burning Homestead (2:50)
  10. Mos Eisley Spaceport (2:16)
  11. Cantina Band (2:47)
  12. Cantina Band #2 (3:56)
  13. Binary Sunset – alternate version (2:19)
    Star Wars soundtrack - 2004 editionDisc two:

  1. Princess Leia’s Theme (4:27)
  2. The Millennium Falcon / Imperial Cruiser Pursuit (3:51)
  3. Destruction Of Alderaan (1:32)
  4. The Death Star / The Stormtroopers (3:35)
  5. Wookiee Prisoner / Detention Block Ambush (4:10)
  6. Shootout In The Cell / Dianoga (3:48)
  7. The Trash Compactor (3:07)
  8. The Tractor Beam / Chasm Crossfire (5:18)
  9. Ben Kenobi’s Death / TIE Fighter Attack (3:51)
  10. The Battle Of Yavin (9:07)
  11. The Throne Room / End Title (5:38)

Released by: RCA/Victor
Release date: 1997
Disc one total running time: 57:33
Disc two total running time: 48:15

Raiders Of The Lost Ark – music by John Williams

Raiders Of The Lost Ark soundtrackOne of the better (not to mention fun) movies during the early 1980s was Raiders Of The Lost Ark. This Steven Spielberg / George Lucas co-production turned out to be one of the biggest hits of 1981, and the film was later nominated for Oscars in Best Picture, not to mention spawning numerous imitators as well as two sequels: Indiana Jones and The Temple of Doom and Indiana Jones and The Last Crusade.

The music played a key role in this film, and John Williams provided an excellent score for this film, also earning a nomination for (but not winning) an Oscar for best score. The soundtrack was released as an album, and in 1995, was re-released on CD with additional music not included in the album. The music was re-mastered for the CD pressing from the original two-track stereo master tapes, and it sounds great… not a crack or pop to be heard.

Also, of note, for a CD that only costs $12.99, it includes a full color booklet containing several photographs 4 out of 4and production sketches from the movies, introduction by Steven Spielberg, comments from John Williams about various bits, and a analysis and a track-by-track commentary by Lukas Kendall of Film Score Monthly.

If you enjoyed the film as much as I did, and enjoyed the music, then the soundtrack is a must-have for your collection.

Order this CD

  1. The Raiders March (2:50)
  2. Main Title: South America, 1936 (4:10)
  3. In the Idol’s Temple (5:26)
  4. Flight from Peru (2:20)
  5. Journey to Nepal (2:11)
  6. The Medallion (2:55)
  7. To Cairo (1:29)
  8. The Basket Game (5:04)
  9. The Map Room: Dawn (3:52)
  10. Reunion and The Dig Begins (4:10)
  11. The Well of the Souls (5:28)
  12. Airplane Fight (4:37)
  13. Desert Chase (8:15)
  14. Marion’s Theme (2:08)
  15. The German Sub / To The Nazi Hideout (4:32)
  16. Ark Trek (1:33)
  17. The Miracle of the Ark (6:08)
  18. The Warehouse (:56)
  19. End Credits (5:20)

Released by: Digital Compact Classics
Release date: 1981 (re-released on CD in 1995)
Total running time: 73:32

Nixon – music by John Williams

Nixon soundtrackIt’s appropriate enough that the controversial Oliver Stone would call upon John Williams to underscore the director’s newest retelling of a deceased American President’s life story. Where Williams’ treatment of JFK seemed experimental, electronic and appropriately unsettling, his take on the life of Richard Nixon (as told by Stone) seems much more serene and traditional in comparison. There’s also some outstanding solo trumpet work. Interestingly, two tracks actually do bear a strong resemblance to Williams’ JFK soundtrack, one being a recap of the decade leading up to Nixon’s presidency (which includes 1963), the other piece accompanying the Watergate 4 out of 4break-in itself. And somewhat more pleasingly, the Nixon soundtrack contains only one non-original piece – a brief statement of the “Battle Hymn of the Republic” – and the rest of the album consists of the movie’s score (as opposed to JFK‘s 1960s hit parade). Highly recommended, and the best Williams movie score in years.

Order this CD

  1. The 1960s: The Turbulent Years (5:04)
  2. Main Title…the White House Gate (4:17)
  3. Growing Up In Whittier (2:42)
  4. The Ellsberg Break-In and Watergate (2:43)
  5. Love Field: Dallas, November 1963 (4:51)
  6. Losing a Brother (3:18)
  7. The Battle Hymn of the Republic (1:03)
  8. Making a Comeback (2:20)
  9. Track 2 and the Bay of Pigs (4:47)
  10. The Miami Convention: 1968 (3:19)
  11. The Meeting with Mao (3:09)
  12. “I Am That Sacrifice” (4:49)
  13. The Farewell Scene (5:01)

Released by: Hollywood Records
Release date: 1995
Total running time: 68:13