John Williams

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Jaws [Original Soundtrack]
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 20  Origin: USA
Main Title and First Victim Empty Raft Pier Incident Shark Cage Fugue Shark Attack Ben Gardner's Boat Montage Father and Son Into the Estuary Out to Sea Man Against Beast Quint's Tale Brody Panics Barrel off Starboard Great Shark Chase Three Barrels Under Between Attacks Shark Approaches Blown to Bits End Titles   Peter Benchley's bestselling novel about the sobering impact of shark attacks on a New England beach town's tourist season gave director Steven Spielberg the perfect opportunity to craft a suspenseful action-drama. An immediate blockbuster upon release in 1975, the movie is being hailed as a classic 25 years later. The 20 minutes of additional score and interviews with Spielberg and composer John Williams may be the strongest enticements for anyone who already owns the original soundtrack, but anyone who's put off purchasing this most identifiable score now has the temptation of improved sonic clarity to contend with as well. Since so much of Williams's score--at the time, his second for Spielberg, before going on to E.T. and Schindler's List, among others--depends on the nearly silent tension buttressed by deep, probing notes, this wide-screen audio mapping only heightens the drama. "Shark Attack," "The Great Shark Chase," and "The Shark Approaches," along with the main theme, represent what empathic movie scoring is all about.

Jaws: Music From The Original Motion Picture Soundtrack
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 12  Origin: USA
Main Title (Theme From 'Jaws') Chrissie's Death Promenade (Tourists On The Menu) Out To Sea The Indianapolis Story Sea Attack Number One One Barrel Chase Preparing The Cage Night Search The Underwater Siege Hand To Hand Combat End Title (Theme From 'Jaws')   John Williams's second collaboration with then-wunderkind director Steven Spielberg not only gave Hollywood one of its most indelible musical motifs--the rampaging shark's rhythmic, swelling two-note figure that's long since become a sonic archetype for terror--it won the composer his first scoring Oscar (he'd previously won for adapting Fiddler on the Roof) and arguably made him a film music superstar. Williams's oft-brooding score is one of the key elements of the film's gut-wrenching success, a shrewdly manipulative orchestral underpinning that evokes the idyll of a beach resort one bar, the horrors of being eaten alive the next. There are more motifs than melodies here, but as with Bernard Herrmann they evoke almost subliminal emotional responses, creating a masterfully menacing, brass-heavy concerto of surprising depth. Music for fly-fishing it isn't!

Jurassic Park: Original Motion Picture Soundtrack
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 16  Origin: USA
Opening Titles Theme from Jurassic Park Incident at Isla Nublar Journey to the Island Raptor Attack Hatching Baby Raptor Welcome to Jurassic Park My Friend, the Brachiosaurus Dennis Steals the Embryo Tree for My Bed High-Wire Stunts Remembering Petticoat Lane Jurassic Park Gate Eye to Eye T-Rex Rescue & Finale End Credits

Minority Report (Original Motion Picture Score)
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 16  Origin: USA
Minority Report "Can You See?" Pre-Crime To The Rescue Sean And Lara Spyders The Greenhouse Effect Eye-Dentiscan Everybody Runs! Sean's Theme Anderton's Great Escape Dr. Eddie And Miss Van Eych Visions Of Anne Lively Leo Crow.The Confrontation "Sean" By Agatha Psychic Truth And Finale A New Beginning   While Steven Spielberg's sci-fi detective thriller revolves around the intriguing premise of future cops arresting criminals before their crimes, beneath its high-tech veneer it asks a simple but infinitely powerful question: Do we have the power to alter our own destiny? Coming on the heels of the director's posthumous collaboration with Stanley Kubrick, A.I. Artificial Intelligence, it also affords longtime Spielberg musical collaborator John Williams a rare back-to-back opportunity to construct a musical future-world. The composer's efforts here are largely a forceful departure from A.I.'s sparkling minimalist influences, employing an enduring cinematic cliché--that film futures often sound much like the works of early-20th-century serialist/modernist classical composers--that puts a compelling new spin on the ever slippery concept of postmodernism. If the cues here occasionally recall the jagged edges, dark corners, and rhythmic fury of some of Goldsmith's best sci-fi scores, it's only a tribute to both legends' deep musical roots and preternatural scoring instincts. But make no mistake, this is pure Williams at his most compelling, employing his full arsenal of technique and always masterful use of color to construct a new genre--call it "future noir"--from inspirations as diverse as Bartók, Ligeti, Penderecki, Webern, and Schoenberg. Like Herrmann's suspenseful scores for Hitchcock (one of the film's intentional musical touchstones), there may be nary a memorable melody in it, but it's a riveting--and occasionally harrowing--listen from opening bars to its final, minimalist-tinged string flourishes. --Jerry McCulley (amazon.com)

Return of the Jedi: The Original Motion Picture Soundtrack
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 27  Origin: USA
Disk One:   20th Century-Fox Fanfare Main Title/Approaching the Death Star/Tatooine Rendezvous Droids Are Captured Bounty for a Wookiee Han Solo Returns Luke Confronts Jabba/Den of the Rancor/Sarlacc Sentence Pit of Carkoon/Sail Barge Assault Emperor Arrives/The Death of Yoda/Obi-Wan's Revelation Alliance Assembly Shuttle Tydirium Approaches Endor Speeder Bike Chase/Land of the Ewoks Levitation/Threepio's Bedtime Story Jabba's Baroque Recital (Source Music) Jedi Rocks (Source Music) Sail Barge Assault [Alternate Take] Disk Two:   Parade of the Ewoks Luke and Leia Brother and Sister/Father and Son/The Fleet Enters Hyperspace/Heroic Ewok Emperor's Throne Room Batle of Endor I Lightsaber/The Ewok Battle Battle of Endor II Battle of Endor III Leia's News/Light of the Force Victory Celebration/End Title Ewok Feast/Part of the Tribe (Source Music) Forest Battle (Concert Suite)

Sabrina: Original Motion Picture Soundtrack
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 13  Origin: USA
Theme from Sabrina Moonlight - Sting Linus' New Life Growing up in Paris (In the) Moonlight [Instrumental] Sabrina Remembers/La Vie en Rose Sabrina Comes Home Nantucket Visit Party Sequence Sabrina and Linus Date How Can I Remember? - Michael Dees Sabrina's Return to Paris Theme from Sabrina (Reprise)

Saving Private Ryan: Music From The Original Motion Picture Soundtrack
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 10  Origin: USA
Hymn to the Fallen Revitisting Normandy Omaha Beach Finding Private Ryan Approaching the Enemy Defense Preparations Wade's Death High School Teacher Last Battle Hymn to the Fallen (Reprise)   What appears on screen during the World War II movie Saving Private Ryan suggests that director Steven Spielberg has studied the hyperviolence of Quentin Tarantino, John Woo, and Stanley Kubrick (think Full Metal Jacket). What you hear, however, assures that Spielberg still collects Norman Rockwell paintings. Composed by Spielberg's long-time musical companion, John Williams, Ryan denies the pair's penchant for ebullience in favor of funereal grace. Rather than mirror the visual kinetics, Williams lends the gunfire a tone-poem aura. Oliver Stone's Platoon makes the best comparison; remember how Barber's Adagio for Strings accompanied its most bloody moments? Williams later worked with Stone on JFK and Nixon, providing scores so somber, they qualified as morose. They remain two of his best, and Saving Private Ryan shares their restraint.

Schindler's List: Original Motion Picture Soundtrack
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 14  Origin: USA
Theme from Schindler's List Jewish Town (Krakow Ghetto-Winter '41) Immolation (With Our Lives, We Give Life) Remembrances Schindler's Workforce Oyf'n Pripetshok and Nacht Aktion I Could Have Done More Auschwitz-Birkenau Stolen Memories Making the List Give Me Your Names Yeroushalaim Chel Zahav (Jerusalem of Gold) Remembrances Theme from Schindler's List (Reprise)   Because he's long been stereotyped by the rousing neo-romantic adventure scores for the Star Wars, Indiana Jones, and Jurassic Park franchises, it's easy to forget that composer John Williams is hardly idiomatically challenged. When Steven Spielberg gratifyingly used the clout of his enormous commercial success to produce and direct this brave Holocaust drama, his longtime musical collaborator used the opportunity to display both the depth and maturity of his musical gifts and training, producing a score with sad, evocative melodies frequently carried by the violin of the great Itzhak Perlman. Rich with ethnic nuance and showcasing the composer's masterful orchestral/choral subtlety, Williams's emotionally compelling score for Schindler's List also won the Academy Award for Best Dramatic Score.

Schindler's List: Original Motion Picture Soundtrack [GOLD CD]
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 14  Origin: USA
Theme From Schindler's List Jewish Town (Krakow Ghetto-Winter '41) Immolation (With Our Lives, We Give Life) Remembrances Schindler's Workforce OYF'N Pripetshok And Nact Aktion I Could Have Done More Auschwitz-Birkenau Stolen Memories Making The List Give Me Your Names Yeroushalaim Chel Zahav (Jerusalem Of Gold) Remembrances Theme From Schindler's List (Reprise)

Star Wars Episode I: The Phantom Menace - Original Motion Picture Soundtrack
		Music by: John Williams  Media: CD  SPAR Code: ---  Tracks: 17  Origin: USA
Star Wars Main Title & the Arrival at Naboo Duel of the Fates Anakin's Theme Jar Jar's Introduction & the Swim to Otoh Gunga Sith Spacecraft & the Droid Battle Trip to the Naboo Temple & Audience with Boss Nass Arrival at Tatooine & the Flag Parade He is the Chosen One Anakin Defeats Sebulba Passage Through the Planet Core Watto's Deal & Kids at Play Panaka & the Queen's Protectors Queen Amidala & the Naboo Palace Droid Invasion & The Appearance of Darth Maul Qui-Gon's Noble End High Council Meeting & Qui-Gon's Funeral Augie's Municipal Band & End Credits   The Star Wars cycle, George Lucas's stellar pop parable cum merchandising blitzkrieg, has long since made history as an unparalleled cinematic-cultural-marketing phenomena; somewhere Billy Jack should be in one envious, ass-kickin' mood. Phantom Menace, easily the most eagerly anticipated film of the '90s, returns to the saga's roots and allows Lucas to flesh out the history of some of the fable's core characters and conjure up a dazzling new cast of cohorts, antagonists, and alien realms for them to interact with and in. Thus, all composer John Williams had to do was essentially reinvent the world's most popular wheel. The film-scoring legend has admirably risen to that daunting challenge, delivering an inventive score whose dynamics should surprise and delight even the most ardent SW fanatic. The Main Title and a few oh-so-sparing bars of a familiar Jedi theme are all that remains from the original trilogy's lexicon, Williams having evolved the saga's musical language, stylistic reach, and orchestral palette with masterful subtlety. The composer's most ambitious surprise is the welcome addition of strong choral elements, which he uses in ways both majestic ("Duel of the Fates") and menacing ("Passage Through the Planet's Core"). And though the film revolves around a young boy (Anakin Skywalker, who will grow to be both corrupted and redeemed as Darth Vader), the only flirtation with cloying sentimentality comes with the innocently loping "Jar Jar's Introduction." In the tradition of the Cantina and Max Rebo's Band of the previous trilogy, Williams and Lucas close out this musical installment with "Augie's Municipal Band," a Carnivale-esque romp that segues grandly into the composer's swelling title music. Williams may be the master of a grand scoring tradition, but Phantom Menace is gratifying evidence that he seldom plays it safe--even when the Force is with him.

Currently viewing records 21 to 30 of 37
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David Arnold | John Barry | Bruce Broughton | John Carpenter | Patrick Doyle | Danny Elfman Jerry Goldsmith | James Horner | Basil Poledouris | Alan Silvestri | John Williams | Hans Zimmer

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