Agreed, but I think most or all of that is up to the music distributors, not Spotify. Spotify can't change the "official" track titles even if they're terrible, and they certainly can only offer albums they've been able to get the licenses for. In many cases they probably got a deal with a record label that put out one album, but not the others.
Spotify is really fucking aweful at correctly naming tracks, like I don't fucking want live in the name if it's live, I don't want the movie name in every track, just the correct fucking song names please and don't add artists then not add their full discography. Metal, Classical, Jazz on spotify has lazy ass mother fuckers not their jobs correctly.
I can't decide if March of the Resistance or Rey's Theme was my 2nd best cue of 2015 (nothing beats Patrick Doyle's Pumpkin Pursuit from Cinderella). I think Rey's Theme is one of those romantic motifs that wouldn't go out of place from the Golden Age of Cinema.
So of course I downloaded the entire back catalog of "Star Wars Oxygen: The Music of John Williams" podcasts, and it is awesome. http://www.rebelforceradio.com/star-wars-oxygen The breakdown of even the most minor themes, their varied uses, inspirations, intentions, this is helping me develop the better appreciation of these scores that I always felt I should have. And I say that as one whose first CD as a child was a collection of John Williams' music from Star Wars and Close Encounters, which I listened to endlessly.
@Societysbad1 That was fantastic! Amazing breakdown of Rey's Theme. "JJ let John Williams do his thing. [There was no] producer pressure to 'crank out the hits, man!' We got John Williams giving a thoughtful take on a very powerful story." I like how David calls the credits suite "dense." Indeed, there is... so much going on. ;) He says that "the music is in absolute lock-step with this story" more than any film since TPM "or arguably" ROTJ, which is my feeling as well - and I think that contributed to why I wasn't consciously thinking about the score while watching the film as much as with the prequels, because it matches so well that it blends in more than it stands out. Then they draw the contrast that whereas the prequels each had a "hit single" that the film was promoted with (they don't name the tracks, but I assume they mean Duel of the Fates, Across the Stars, Battle of the Heroes), that isn't how movies are promoted anymore,
and "the difference is that we haven't been listening to [Rey's Theme] on MTV for solid a month before we walk into the theater." Well, apparently The Jedi Steps was used in a trailer - can someone link to that for me? And because of that, some fans say they still think of it as TFA's theme, whereas if anything it should be the next film's main theme. But yes, there certainly wasn't Rey's Theme all over promotional stuff like I remember Across the Stars being. (I didn't see anything leading up to TPM, and for RotS I avoided everything as much as I could.) And they point out that Rey's Theme is everywhere in the film - yes, but on my two viewings so far, the only part in which I took great notice, the only music showcase, was when she rides off toward the horizon to it (The Scavenger). Whereas the other three "singles" had full and prominent "music videos" within the films themselves.
Indeed :) This year we'll get the first theatrical live-action Star Wars film without a John Williams score; Rogue One will be scored by Alexandre Desplat. While obviously due to his association with director Gareth Edwards, this is an excellent choice; Desplat's work has been consistently well received by audiences and critics, and he's extremely adaptable. This won't be the first time he's taken over from John Williams, either, as Williams began the Harry Potter series and Desplat did a great job ending it. He'll certainly work classic Star Wars motifs in when appropriate. Of course the film will be military-focused and presumably will not include any Force users other than Vader, and that might call for a more rough, percussive score. Or perhaps not - doing the obvious isn't always the right choice.
I implore fans of John Williams' Star Wars music to check out Rebel Force Radio's Star Wars Oxygen podcast w/ David Collins and Jimmy Mac. Some great commentary/analysis of the music so far in one of their first episodes covering The Force Awakens. Check it out!
(Disclaimer: I don't know much about music and am not qualified to write this; please enjoy this part of your internet experience today) Some of the complaints I've seen clearly aren't based on the actual quality of the music, but rather, on the listener's desire for the music to be more bombastic and emotionally overwhelming. My guess is that, after the prequels often employed music to carry poorly executed storytelling, there was a desire (despite JJ Abrams being an ardent lifelong Williams fan) to mainly let this new score take more of a supporting role.
Of course there is, as I think there was back in the 70's, the tension between "playing it cool" like that and going for the big swells at full volume, which can be a brave or risky choice. Heretically, my favorite trilogy score is The Lord of the Rings, and I remember that some viewers particularly disliked the use of music when Elrond says "You shall be the Fellowship of the Ring," feeling it was another use of music to carry a boring moment. The current trend is to shy away from melody itself, recent examples being Man of Steel and Mad Max: Fury Road (both of which I must admit to being a fan of). The music in those films is loud and prominent, but it's more based on percussion and the simplest motifs. This struggle between Wagnerian grandeur and the "cool" modern stripped-down sound seems to be the central conflict in film scores today. See Tyler Bates' concerns, which I quoted here: http://www.last.fm/music/Tyler+Bates/+shoutbox
I am *not* equating TFA with that, but if TFA seems to have *relatively* less presence and memorability than the huge measures of both that we're used to from Star Wars scores, I suspect the filmmakers' desire to "play it cool" may be a chief factor. And I think the result is balanced. Rey's Theme may be my favorite piece of music released this year, and I eagerly await more of the Master Luke / Ancient Jedi (?) theme in The Jedi Steps. Both have been stuck in my head multiple times. And regarding The Jedi Steps in particular, I've seen a complaint that it was too simple and passive. But wasn't it perfect for the scene it was used in? To me, that moment exemplifies the way I think of the whole TFA score: a humble, unassuming introductory chapter. I expect the music will grow in scale and presence as the story of this trilogy does. Not that Starkiller Base is small-scale, but it was clearly only a stepping stone in a journey that will have much greater consequence by the end.
I must admit, the TFA score didn't strike me as hard as the other movies have, but it was still the same top-tier class we've come to expect from Williams. I'm listening to it for the first time after the movie now, and I'm flabbergasted. Absolutely fantastic job. Without him, there wouldn't be Star Wars as we know it.
Clackers: "Scherzo for X-Wings" is great, but my favorite action cue is "The Resistance", which unfortunately is not on the OST. It's a bombastic rendition of the Resistance and Poe themes. Check it out here: http://www.waltdisneystudiosawards.com/#/star-wars/music
I deleted everything from my iTunes library and left only John Williams' The Force Awakens. I've been listening to this dude for 5 days now. And it's still not enough! :D I've always loved WIlliams and Star Wars soundtracks but there's something truiy magical in TFA score