STAR WARS: The Rise of Skywalker original motion picture soundtrack (2019 Lucasfilm/Disney)
Music by JOHN WILLIAMS
There are very few film series with soundtracks that can do what The Rise of Skywalker does. John Williams has now built up such an expansive list of familiar themes, that it takes just one note to anticipate which one is coming next. Whether it be Leia’s, Rey’s, or Emperor Palpatine’s himself, The Rise of Skywalker is loaded with music you already hold deep in your heart.
Let us all be grateful that John Williams scored the complete nine-movie saga. If inconsistent writers and directors make the series as a whole a bumpy ride, then John Williams’ steady hand is the glue that holds it all together. Something like the movie itself, the soundtrack to The Rise of Skywalker attempts to conclude more than just a trilogy, but the Skywalker Saga. In the liner notes, Williams says that he hopes the nine movie scores will be seen as a “singular, organic whole”. Because of his consistent but always evolving vision, this is exactly what has happened. The Rise of Skywalker is the finale.
Rey’s theme, as heard in “The Force is With You”, stands out as the strongest of the sequel trilogy. What is interesting about that is how different it is from previous Star Wars motifs. It is light and delicate, but part of the new universe. It is difficult not to get emotional when you hear everything coming together in the end. There are surprises and an ample number of weighty moments. Of course, there are also new things to enjoy, and old things put together in new ways.
I like that the people who designed the packaging avoided the boneheaded spoilers of the past by putting the track listing inside. It’s unfortunate this final trilogy had the most boring cover art of the entire saga, but be forewarned: a deluxe Rise of Skywalker soundtrack has been announced for March. We can hope for a better sleeve on that edition.
John Williams has been an integral part of Star Wars since the beginning, and this time he was rewarded with [SPOILER] his very first cameo on screen. The circle is truly now complete. This thoroughly enjoyable score should be universally beloved even if the film is not.
Happy New Year! Local punk rock favourites Hello Hopeless are reunited and have released their long-gestating video for “The Match”, possibly the best song from the Dark Pasts, Brighter Futures EP. This video was filmed so long ago, that’s last winter‘s snow on the ground!
Enjoy this awesome video that was definitely worth the wait.
MARILLION – With Friends From the Orchestra (2019 2 LP set)
Marillion have released so much product at this point that it takes quite a lot to get me excited these days. Whether it be live records, new albums, reissues, or re-imaginings of old songs, the last decade produced dozens. Though the concept of With Friends From the Orchestra (new versions of old songs re-recorded with orchestra) left me cold, the finished product is surprisingly stunning.
The songs chosen are a mix of Hogarth hits and epics. Each one is supplemented with a fully-integrated orchestra, upping the “wow” factor considerably. Tracks like “Beyond You” have gone to a new level. Previously mixed in mono (for that Phil Spector “wall of sound”) on Afraid of Sunlight, the explosive new version is three-dimensional. Tracks that sounded incomplete, perhaps, in their original studio versions now seem fully fleshed out. “Estonia” is a song that always needed some more vitality. Elements that you didn’t realize were missing are now in their proper places.
The track selection is unexpected. “A Collection” is an acoustic B-side, albeit one that gets periodic attention. There are also a couple long-bombers. “Ocean Cloud” is a side long epic, while “This Strange Engine” is twice as vivid as before. As for “Seasons End”, it’s possible that 30 years later, the boys have finally laid down the definitive version.
Marillion With Friends From the Orchestra isn’t an easy album to categorize, but what it delivers are the most iridescent versions of these nine songs. They’re not the most recognizable songs, but when you hear the end result you’ll recognize they were wise choices.
IRON MAIDEN – Virtual Lights Strikes Over France (1998 bootleg CD)
I took some flak when I first reviewed this. “So funny, you guys bashing on a Maiden album,” said a disbelieving Aaron. “Compared to contemporaries, you gotta know they still kick ass and take names over any of the pretenders to the throne.” If only it were that simple. More recently, Blaze Bayley-devotee Harrison has questioned my 1/5 star score. It’s time to revisit the album after seven years and see if it sounds any better.
Ever wonder why Blaze only lasted two albums with Iron Maiden? Most people assume it’s because they were more popular with Bruce, which is true. But there was more to the story than that. The evidence is here on Virtual Lights Strikes Over France, a live bootleg from the 1998 tour. A handful of tracks aside, Blaze’s voice was in rough shape. He struggles to hit and hold notes, on his own material no less. He’s not as bad as Vince Neil, mind you. He sings all the words and gives it all he’s got. He’s just continually flat or sharp on key notes.
“Futureal” starts things in a promising manner, powerful and solid. The struggle begins on “Angel and the Gambler”, missing notes here and there. He begins “Lightning Strikes Twice” prematurely. He does OK through the verses, but the chorus is a lost cause. This is the tipping point.
“Man on the Edge” from The X Factor should be a slam dunk. The problem is when Blaze hits a bad note, he really commits to it. When the first Bruce Dickinson song is up, “Heaven Can Wait”, it’s all over. No matter how good Iron Maiden are, this version is as close to unlistenable as the storied metal band ever gets. Bayley recovers for a while on “Clansman”, but “Two Worlds Collide” must be tougher to sing. “Murders in the Rue Morgue” is a slaughter. Shame, since it’s a rarely performed Paul Di’Anno tune. “2 Minutes” is marginally better.
In general, Blaze fares better on his own songs, but that doesn’t mean they’re exempt from problems. You have to be a patient fan to listen to the entire set in one sitting, and you’ll absolutely wince multiple times.
The second CD has three bonus tracks from a show two years prior, from the X-Factour. On these, Blaze is tops! The difference is striking. Here, he’s got the power necessary to accompany Iron Maiden on stage. You can at least buy this CD for definitive live versions of “Fortunes of War”, “Blood on the World’s Hands” and “The Aftermath”. It’s clear Blaze’s voice had changed between the two tours.
Am I being harsh? Admittedly, yes, but for two reasons.
Iron Maiden and Steve Harris have higher standards than this.
I paid $60 for this goddamn thing.
The main point though is 1. Obviously this situation was not going to be sustainable and Harris made the necessary change. If he hadn’t, Iron Maiden might have risked being known as one of those bands who are hit and miss in concert, like Kiss and Motley Crue today.
I am going to revise the score higher. It is live, and it’s not all terrible. But few songs are free from some seriously sour notes, and for that reason, Virtual Lights will remain the least played Maiden CD in my collection.
The greatest saga of a lifetime; the story that began in 1977 when I was 4 years old has finally come to its end. And what a satisfying end it is.
JJ Abrams had an unenviable task: fix the mess that Rian Johnson created with 2017’s Episode VIII: The Last Jedi. Instead of winding towards a logical conclusion, the Johnson film steered the story into strange new directions poorly suited to the second-last film in a nine movie saga. The death of Carrie Fisher the same year threw a giant wrench into the whole thing. How was JJ to wind up a massive story like this, finishing not only his trilogy but the other two as well?
I’m not going to tell you, except that he managed to do it. It’s not perfect, but no Star Wars movie has been perfect since 1980. Episode IX: The Rise of Skywalker is the best movie of this final trilogy, and is certainly better than 66% of the prequels. He managed to pick up the ball that Johnson shat out, weave it tighter, and make lemonade from lemons.
The Carrie Fisher scenes are somewhat difficult to watch. You know the actors are not reacting to her, but performing to pre-recorded scenes. Her dialogue is necessarily vague and cloudy. It’s unfortunate because Episode IX was supposed to be her film. Nothing can be done about that. But wisely, JJ recruited Billy Dee Williams back into the fold as the debonair rogue, Lando Calrissian. Lando’s role is larger than expected which will please many fans. The film is also bolstered by cameos from just about every living Star Wars actor (no, not Jake Lloyd) in ways that brought nothing but smiles. Look for Hobbits and late-night talk show hosts too.
The villain this time, as you know from the trailers, is Ian McDiarmid’s Emperor Palpatine. How did he survive the events of Episode VI: Return of the Jedi? It only takes one line of dialogue to sell it.
With the stakes higher than ever before, the Sith and the Jedi meet one last time. If you’re looking for an inkling of the plot, read the old Dark Horse comic series Dark Empire. Not only did that series feature a resurrected Palpatine, but also Luke Skywalker doing Force projections. It’s highly likely that JJ Abrams took inspiration from Dark Empire, though The Rise of Skywalker is far superior to that old book.
Suffice to say, our heroes once again must face incredible odds with little on their side except friendship and heart. The movie stumbles after we are told repeatedly that they must succeed, or all of this – everything – has been for nothing. Then they go on a silly rescue, instead of completing their mission. There are also, perhaps, too many meetings between Kylo Ren (Adam Driver) and Rey (Daisy Ridley) which blunts their overall effect. At least the heroes, Rey, Finn (John Boyega) and Poe (Oscar Isaac) bond like the classic trio. You’re aware that you are watching a knockoff Luke-Leia-Han trio, but don’t forget, that’s the kind of stuff fans used to say they wanted. “No more wooden crap like the prequels,” they moaned. Now they moan when it’s what they said they wanted before. Sceptics will not be won over by The Rise of Skywalker.
Another possible weakness that fans might resist is a tenuous connection to the Disney+ TV series The Mandalorian. Rey and Kylo Ren can do something that a Mandalorian character can do. Some will accept it as fitting in with classic Star Wars lore. Others will baulk and call it “Disney ruining Star Wars again.”
The cutesy stuff is kept to a minimum (though there is a new droid called D-O introduced for no reason) and emotions run high. Nostalgia is heavy. Action is fast, though JJ unwisely resorted to slow motion techniques again, which breaks visual style from the six Lucas-guided movies. He would have insisted on the movies being consistent. Lens flare, though, is gladly reduced.
Hindsight is always 20/20, and The Rise of Skywalker must stand up to repeated viewings and further analysis. It does drag at various times in the middle, but when it drops bombs, it goes nuclear. Special mention to Keri Russell for a fine performance as spice runner Zorri Bliss, and again to Billy Dee Williams. He never abandoned Star Wars, you know. He returned in the animated series Star Wars: Rebels as suave as ever. And of course, John Williams. His score contained some really cool motifs, like a re-imagined Emperor’s theme that fit like a glove.
The Rise of Skywalker is probably the best ending to a saga we could have expected (and certainly better than what Lucas had planned). If you want to live your life as a person who only has six Star Wars movies in their head-canon, that is absolutely fine. (I know people who to this day consider Star Wars to be three movies.) It can easily be argued that this entire trilogy was just tacked on. But JJ did his best for it not to feel that way; for it to appear like this was always the ending. Did he succeed? That’s up to you.
WE WISH YOU A METAL XMAS AND A HEADBANGING NEW YEAR (2008 Armoury)
Yep, It’s another Bob Kulick album with various guests. You know what you’re going to get. Let’s not dilly-dally; let’s crack open the cranberry sauce and see what a Metal Xmas sounds like.
Generic! A truly ordinary title track features the amazing Jeff Scott Soto on lead vocals, but it’s a purely cookie-cutter arrangement with all the cheesy adornments you expect. Ray Luzier fans will enjoy the busy drums, but this does not bode well for the album.
Fortunately it’s Lemmy to the rescue, with “Run Rudolph Run”, an utterly classic performance with Billy Gibbons and Dave Grohl. All spit n’ vinegar with no apologies and nary a mistletoe in sight. I remember playing this for my sister Dr. Kathryn Ladano in the car one Christmas.
When Lemmy opened his yap, she proclaimed “This is bullshit! How come they get to make albums and not me?”
Lemmy Kilmister, pissing people off since day one, has done it again. You can buy the CD for “Run Rudolph Run” even if the rest is utter shit.
A silly “Santa Claus is Coming to Town” by Alice Cooper echoes “The Black Widow”, but novelty value aside, is not very good. A joke song can only take you so far, and Alice is usually far more clever. (At least John 5’s soloing is quite delicious.) And even though Dio is next, “God Rest Ye Merry Gentlemen” comes across as a joke, too. Which is a shame because the lineup is a Dio/Sabbath hybrid: Tony Iommi, Rudy Sarzo, and Simon Wright. Dio’s joyless, dead serious interpretation is amusing only because of its unintentional dry humour.
Funny enough, Geoff Tate’s “Silver Bells” has the right attitude. Even though Geoff is perpetually flat, his spirited version (with Carlos Cavazo, James Lomenzo and Ray Luzier) kicks up some snow. That makes me happy, but it pains me to say that Dug Pinnick’s “Little Drummer Boy” (with George Lynch, Billy Sheehan and Simon Phillips) doesn’t jingle. Ripper Owens, Steve More & pals team up next on “Santa Claus is Back in Town”, so bad that it borders on parody.
The most bizarre track is Chuck Billy’s “Silent Night”, with thrash buddies like Scott Ian. Chuck performs it in his death metal growl, and it’s pure comedy. Oni Logan can’t follow that with “Deck the Halls”, though it’s pretty inoffensive. Stephen Pearcy’s “Grandma Got Run Over By a Reindeer” adapts the riff from “Tie Your Mother Down” and succeeds in creating a listenable track. “Rockin’ Around the Xmas Tree” is ably performed by Joe Lynn Turner, sounding a lot like a Christmas party jam.
The final artist is Tommy Shaw with John Lennon’s “Happy Xmas (War is Over)”. It’s an authentic version and while not a replacement for the original, will be enjoyable to Styx fans.
Christmas albums by rock artists are, let’s be honest, rarely worthwhile. This one has only a handful of keepers so spend wisely.
Glad tidings and joy! It’s the final day of the least popular series in the history of this site. Yes, the daily hits took a nosedive, but we have succeeded in reviewing every single Marillion Christmas CD. You’ll find a directory below. Thanks for reading if you did! Back to our regularly scheduled program next time.
The very last Marillion Christmas CD to date is another double live album. It’s actually a summer Festival gig (July 2015) with a shorter set, and two Christmas songs from December 2014 added at the end. Most of these tracks have appeared on other Christmas albums, all but “The Invisible Man”. It’s notable for focusing on long-bombers and only a couple of “hits”.
Not sure what’s up with the cover though, the band dressed as mad scientists, all but Pete Trewavas. It’s a suitable image I suppose, since Marillion are like the mad scientists of rock music.
17 minutes of “Gaza” opens the show, heavy as hell, one of the most intense Marillion songs of their 40 year history. It might be about the Holy land but it’s not what you’d call Christmas-y! Expect a driving ride through war-torn landscapes, with quieter respites strategically placed. Lightening the mood, “You’re Gone” kicks things up. The pop melodies and dance beats get the toes tapping.
“Oh fuck, now Pete’s gone,” says Hogarth between songs. Fortunately the bassist returns! “Power” from Sounds That Can’t Be Made follows, one of the better songs from the later years. The only anomaly on this album is “Sugar Mice”, the sole oldie in the set. “I prefer their old stuff”, Steve says to chuckles from the audience. As usual, he absolutely nails the song, a passionate poem to the down and out. The other Steve (Rothery’s) guitar solo is a song to itself, a beautiful complement to the perfect words. “Man of a Thousand Faces” from Marillion’s “acoustic period” (This Strange Engine) is different from the other songs, performed with extra expression. (“Bbbbbabble of Babylon”.) The crowd loves it and keep singing well after the song ends.
Nothing but long bombers for the rest of the show. “Neverland” (10:28), “King” (8:05), and “The Invisible Man” (15:13) represent some of the most epic Marillion music ever committed to tape. Heavy, heavy moods! Complex, driven songs, each one with mini-compositions within compositions. “Invisible Man” in particular is like listening to a stream of songs, and live, it breathes.
The added two Christmas songs, from Germany and France respectively, are ones that have appeared on Marillion Christmas CDs before. Lennon’s “Happy Xmas (War is Over)” is a go-to for this band. Acoustic guitars, gentle keys and jingle bells are all it takes. A loungey “Christmas Song” is funny for how Steve messes up the lyrics right from the start. So it’s not the definitive Marillion version, but it’s genuine.
That’s what makes all these live performances special. There’s no fixing. Everything is how it went down. There’s no point in releasing CDs of so many individual concerts if you’re going to fix them in the mix. Whether it’s a forgotten word or a missing bassist, it’s all in.
MARILLION – Live at the Forum – Christmas Tour 2014 – 11 December 2014 (Abbey Road “instant live” CD set)
This CD was unusual in that it wasn’t a fanclub-only release. It was an “instant live” released by Abbey Road, from Marillion’s 2014 Christmas tour — a double live album. And unlike the official 2014 fanclub release, this one has (some) actual Christmas music on it!
“Gazpacho” is an apt way to start a celebration, which was the goal according to Steve Hogarth. The lyrics might not be all bright and gleeful (“They say the King is losing his grip again”) but the music certainly is. One of Steve Rothery’s catchiest riffs is coupled with Hogarth’s unmistakable voice.
“The Uninvited Guest”, an early single about HIV, is second in the setlist and one several looks back at the fondly-remembered early days. It’s a bit loose and sluggish but the fans always sing along when prompted. The newer “Power” follows, ominous and powerful, pun intended. Chalk it among Marillion’s most memorable choruses.
Hits follow in quick succession: “No One Can” and an extended “Warm Wet Circles”. The laid back vibe continues as Marillion comfortably play for the dedicated. They ping-pong back and forth between old and new, as the next two songs “Woke Up” and “Trap the Spark” are from 2008’s double album Happiness is the Road. That atmospheric record has been a hard one to absorb over the years. The songs are not immediate. Fortunately it’s “Easter” next, a song that never fails to get the masses singing along.
“Sounds That Can’t Be Made” from the album of the same title still pleases, thanks in no small part to Hogarth’s passionate vocal. Things start to feel seasonal, however, on “Seasons End” which sometimes (like this time!) opens with “O Come O Come Emmanuel” as only Hogarth can do it. The song is as poignant today as folks like Greta Thunberg try to deliver the same message that Marillion had in 1989.
So watch the old world melt away, A loss regrets could never mend, You never miss it till it’s gone, So say, goodbye.
Didn’t Hogarth say this concert was a celebration? Well, Marillion have always been dark. It’s been said that their early music with Fish was all about alcohol, and the later music with Hogarth about “death and water”. There is a nugget of truth for that.
“Man of 1000 Faces”, from their “acoustic period” feels a bit more like a singalong. If you can master the tricky words, that is!
I’m the man of a thousand ages, You see my face in the stones of the Parthenon, You hear my song in the babble of Babylon. I’m the man of a thousand riches, Be my guest at the feast of Satyricon, You spend the money that my logo’s printed on.
But the whole thing coalesces into an absolutely massive mountain of music at the end, perfect for the crowd to chant alone. It’s made for audience participation. Then, the progressive rock epic “King” is jokingly dedicated to Harry Styles. It’s a dubious honour, since the song was inspired by tragic figures such as Elvis and Kurt.
After a brief pause, it’s time for some Christmas music. It’s “The Christmas Song” but not the same “Christmas Song” from the very first Marillion Christmas CD. It’s the “real” one. “Chestnuts roasting on an open fire…” Apparently it didn’t go over well in Glasgow or Manchester. “Fucking Northerners”, says Hogarth. They bravely tried it again in London where it seemed to be better received. “Above average!” shouts an audience member. They top that with John Lennon’s “Happy Xmas (War is Over)”.
The show is ended with a bunch of oldies: “Sláinte Mhath”, “The Release”, and from the first album, “Garden Party”! “The Release” is interesting because it’s a B-side, albeit a very popular one, due to its soaring chorus and everyman lyric. Hogarth always does well on “Sláinte” though it is quintessentially a Fish song. As for “Garden Party”, it might be Marillion’s only real party song, quaint as it is. “I’m rucking, I’m fucking!” but Steve lets the crowd finish for him. It’s excellent fun on a CD that is often too serious for your house Christmas party.
You can hear just why this band has such a rabid fanbase on just about any of their live albums, but this one is particularly warm and inviting. Have a listen.
MARILLION – Chile for the Time of Year (2014 Racket Records)
The first Marillion Christmas CD release since 2008’s Pudding on the Ritz doubled down! It was an unusual but special treat: a full-on double live album.
Recorded May 16 2014 in Santiago Chile, it has absolutely nothing to do with Christmas, except that it was that year’s fanclub gift to the fans. With that in mind, it could be their Christmas release with the widest appeal. No carols here for the Grinches and Scrooges to complain about. Just two CDs of progressive music from the Sounds that Can’t Be Made era.
It was the final date on Marillion’s Latin American tour, and it sounds as if they pulled out all the stops. “Gaza”, a cinematic 20 minutes of swirling rock, is a hell of a way to open such a show. Bass runs, samples and guitars coagulate into a mass of music, breathtaking in construction. That’s a lot to digest, and so an easier pill to swallow follows. “Easter” (wrong occasion, lads!) is one of Marillion’s best known hits, liquid and energizing. It and the ballad “Beautiful” each serve to refresh your ears and prepare them for bigger musical challenges ahead.
“This is a song about, and called…’Power'” whispers Steve “H” Hogarth just before another weighty progression. The dancey “You’re Gone” lightens the mood again, as the band wisely don’t let things stay in one groove for too long. “You’re Gone” was a charting single for the band, but as far as accessible pop rock goes, I think they have better tunes in the pocket. Like “No One Can”, or “Cover My Eyes” elsewhere on the album. These longstanding classics from Holidays In Eden have aged well, though the high notes on “Cover My Eyes” have to be supported by the audience.
“Man of a Thousand Faces” is always an interesting song, coming from Marillion’s acoustic “Hootie” phase (as Tom Morwood calls it). It’s adds variety to the concert setting, and is certainly as dramatic as Marillion before and since. But it’s the first song from the Fish era that really stirs the soul. “Warm Wet Circles/That Time of the Night” is a song Hogarth has always done well. As the years passed, he became more comfortable with the Fish songs, and that is audible.
Plenty more early songs follow on the second disc, making this live album a really fine sampler. “Uninvited Guest” and “Hooks In You” from Seasons End were both popular singles in their time, and some diehards love when they resurface in the set. Others think Marillion has better material these days. Neither song was on 2012’s Sounds Live, a much more serious and less upbeat listening experience overall.
Once “Hooks in You” has crashed its final chord, the balance of the album is made of epics and old Fish classics. “Ocean Cloud” and “Neverland” (16 and 10 minutes long respectively) are the epics, both slowly pulsing with vivid life. The way each twists and turns makes neither a bore. “Neverland” is the album closer in fact, ending it in dramatic fashion.
Before we get there, Marillion lay down four Fish classics in a row: The timeless trio of “Kayleigh” – “Lavender” – “Heart of Lothian”, and the poignant ballad “Sugar Mice”. All singles, all tracks forever linked to Fish. But Steve is the Marillion singer now, and he’s been singing those songs almost as long as Fish himself. His versions have their own quirks and personalities, and we live in a world where they can all coexist with Fish’s.
I love when Hogarth says, “We dedicate this song to all the Kayleighs in the audience! There’s bound to be a couple!” Indeed, they’d be in their 30s today.
Merry Christmas Marillion and thanks for the CD. For those who hate Christmas music, this is the one for you! In fact, as a pure live Marillion album, it’s better than most (and they have a lot)!
STAR WARS: The Rise of Skywalker original motion picture soundtrack (2019 Lucasfilm/Disney)
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