PHASE THREE
Episode VI: Return of the Jedi
Finalized 12/18/98
Version 2.0 created 6/16/99
This is the most complex phase in the entire series of articles on the "Star Wars Trilogy". To put this all into context...the original soundtrack album was originally released in 1983 as a single album. This was due to the declining interest in vinyl and the emergence of the compact disc. As a result, this album became more of an original score album than a soundtrack recording, and many crucial film cues were left out.
However, two notable re-recordings more or less made up for what was missing on the OST. Until 1993, the only other albums which additional music could be found was a Var?se Sarabande album called, naturally, "The Star Wars Trilogy" (with the Utah Symphony Orchestra), and an RCA Red Seal release of the Jedi score by Charles Gerdhart and the National Philharmonic Orchestra. And the rest is history.
The score, recorded at EMI/Abbey Road Studios in London, recieved special treatment in 1983 with George Lucas' TAP (Theater Alignment Program), which ensured improved good sound in theaters of that period. This was almost a throwback to Star Wars, where the score, as mentioned before, recorded at Anvil Studios in Denham, recieved similar treatment with the Dolby Stereo format. John Williams would serve another digitized score a decade later with the score for "Jurassic Park," which introduced DTS (Ditital Theater Sound)
For this section of the article we will take into account all the major releases which contained the Jedi score, with the exception of the Sony Classical recording with the Skywalker Symphony Orchestra.
Also, we should note that there are many alternate cues either featured in the FOXB or hidden in the RCA, and the fact that new music was recorded for the "special edition" re-release. We will therefore first deal with the music as originally recorded and intended to be used in the original release version, with all the cues in order, rather than list the actual film cues first (as we did with Star Wars: A New Hope and The Empire Strikes Back). This will give us a better perspective on the landmark third score in the "Star Wars Trilogy".
Abbreviations: OST stands for the original soundtrack album; FOXB stands for the Fox Scores/Arista box set; RCA stands for the RCA Victor "special edition" CDs; RCAG stands for the RCA Red Seal recording with Charles Gerdhardt and the National Philharmonic Orchestra; VAR stands for the Var?se Sarabande "The Star Wars Trilogy" release with the Utah Symphony Orchesta. For this article, we will not count the cassette and CD releases of the original soundtrack album since it is essentially the original album content. By the same token, we will also not count the CD version of the RCA Red Seal Re-recording, nor the Sony Classical re-recording featured on the Skywalker Symphony Orchestra's recording of "The Star Wars Trilogy".
1. 20TH CENTURY FOX FANFARE (Disc 3, Track 1, FOXB; Disc 1, Track 1, RCA; Side 1, Track 1, VAR)--In the film and on the FOXB & RCA, the film opens with the same 1980 re-recording of the Fox Fanfare as first used in The Empire Strikes Back. The VAR features, obviously, an entirely different recording by the Utah Symphony Orchestra.
2. MAIN TITLE (Side 1, first part of Track 1, OLP & RCAG; Disc 3, first part of Track 2, FOXB; Disc 2, first part of Track 2, RCA)--This is the same main title arrangment of "Luke's Theme" as heard in the previous two films and seen over the prologue scroll. The OLP is the first part of the cue "Main Title (The Story Continues)". For some reason, the original CD is labeled "Main Title (The Main Story Continues)".
3. APPROACHING THE DEATH STAR (Side 1, second part of Track 2, OLP & RCAG; Disc 3, second part of Track 2, FOXB; Disc 2, second part of Track 2, RCA)--Covering the opening scene in the film where we are introduced to a new, but uncompleted, Death Star. It starts out rather appropriately eerily, then builds to a dramatic rendering of "The Imperial March", which is then heard in passages as Vader informs the commander of the Emperor's arrival. On the RCAG, it has been edited only in composition with the track ending with Vader's first appearance in the film. The OLP was the second part of the cue "Main Title (The Story Continues)".
4. TATOOINE RENDEZVOUS (Disc 1, fourth part of Track 2, RCA)--This jaunty piece of music (beginning at the 5:44 mark of the RCA's Track 2) originally covered scenes with Lord Vader contacting his son through the Force, and Luke presenting the robot R2-D2 with a new lightsaber. As it turned out, these scenes were deleted from the film, and so the music was not used at all. After the opening Death Star scene, the music in the film picks up at the 7:16 mark as we follow C-3PO and R2-D2 to the castle of Jabba the Hut. The track concludes with an unused cue covering the opening of the palace door (this begins at the CD's 8:07 mark to conclusion). Incidentally, this track opens with an alternate opening section of a climactic cue which we'll discuss later.
5. JABBA'S BAROQUE RECITAL (Disc 1, Track 13, RCA)--Synthsizers are again put to use in this first source cue covering the introduction of the slug-like gangster, Jabba the Hut, who has held the carbon-frozen Han Solo for some time.
6. THE DROIDS ARE CAPTURED (Disc 1, Track 3, RCA)--Short orchestral passage that begins with the sight of the still-frozen Han Solo, then we move to the bowels of Jabba's palace where the droids are about to be refitted for service to Jabba.
7. LAPTI NEK (film version) (remains unreleased)--Dance music "performed" by Jabba's Sy Snootles Band. This rendition is markedly different from the other versions which we'll discuss later. For one thing, it has different Huttese lyrics, and the lead vocal is from a different singer than the other versions. An instrumental version of this can be heard in the radio adaptation of Jedi.
8. BOUNTY FOR A WOOKIE (Disc 1, Track 4, RCA)--Princess Leia, disguised as bounty hunter Bousch, presents the Wookie Chewbacca to Jabba for reward. The first 45 seconds of this track, unused in the film, was meant to underscore Oona being eaten alive by the Rancor creature. Parts of this cue were tracked in to the restored Jabba scene in the "Special Edition" of Star Wars: A New Hope.
9. SAIL BARGE DANCE (Variation #1) (remains unreleased)--First of two variations of a dance piece that would later be heard on Jabba's Sail Barge. This rendition comes after the Wookie has been sold to Jabba for reward. The original master tapes to this are said to be lost...that and CD time limitations precluded its release on the "special edition" CD, so this remains unreleased. However, a short section can be heard in the documentary From Star Wars To Jedi: The Making Of A Saga.
10. HAN SOLO RETURNS (At the Court of Jabba The Hut) (Side 1, Track 5, OLP; Disc 3, Track 3, FOXB; Side 2, Track 2, RCAG)--Underscores Han Solo being released from his carbonite prison and immediate capture by Jabba. Starts out quiet, but brass rises as Han comes out of his carbonite coffin. When Bousch reveals itself to be Princess Leia, the "Han and Leia" theme is re-introduced, and that ends the RCAG version. But this original recorded version segues into a passage of the concert arrangement of Jabba's theme (which underscored Jabba's surprise appearance behind the curtain). There are no more than two alternate versions of this (we'll discuss that when we get to "Alternate Cues").
11. LUKE CONFRONTS JABBA (Disc 1, first part of Track 6, RCA)--In this somber cue, Luke has now infiltrated Jabba's palace and demands that Solo be released or Jabba and his friends will die. He uses the Force and his Jedi Knight skills to no avail, and the cue ends with the horns rising as Jabba releases the trap doors leading to the dungeon of the Rancor. The second half of this cue was tracked with music from later in the film (we'll discuss this later), but buried within this piece of music on the RCA is the third section of the film version of the previous "Han Solo Returns" cue, which will be talked about when we get to "Alternate Cues". Otherwise, "Luke Confronts Jabba" is presented on the RCA in two parts, the first found in the section from 0:00 to 1:26, and the second in the section from 2:06 to 3:14 where the next track begins...
12. FIGHT IN THE DUNGEON (Side 2, second part of Track 3, RCAG; Disc 3, Track 4, FOXB; Disc 1, second part of Track 6, RCA)--Brass, winds, and percussion are present on this dramatic underscoring of Luke's confrontation with the Rancor. "Ben's Theme" and "Luke's Theme" intermingle during the struggle. The RCAG only presents the second half of this music, while the FOXB and RCA present this in its entirety. The cue was slightly edited for the final film release. The RCA was re-titled "Den Of The Rancor".
13. SARLACC SENTENCE (Disc 1, third part of Track 6, RCA)--Picks up right where the previous cue left off, as Han and Luke face Jabba and their death sentence for their defiance. Timpani and synthesizer (underscoring the death of the Rancor) begin this piece. The final chord was unused in the original version of the film, while restored to the "special edition" film.
14. SAIL BARGE DANCE (Variation #2) (remains unreleased)--Second arrangement of the music for the Sail Barge, this time done with Calypso instruments. The original master tapes are said to be lost, that (along with CD time limitations) precluded its release on the "special edition" CD.
15. THE PIT OF CARKOON (Disc 1, first part of Track 7, RCA)--Underscores the scene at the title spot leading to the sail barge battle. Only the first ten seconds (with the strong brass) were used in the film. However, most of the unused second half were tracked into a restored Jabba scene in the "Special Edition" film of Star Wars: A New Hope.
16. THE RETURN OF THE JEDI (Disc 4, Track 19, FOXB; Disc 1, Track 15, RCA)--The music to the sail barge battle, as John Williams originally composed and recorded before a entirely new piece was used for the final film. Here, Williams opts mostly for originality, not using thematic material. However, the beginning, middle (with the final passage of the Jabba theme) and the end (the passage that would be used in a climactic cue) are about the same as what was eventually written and used. Incidentally, a passage of this recording would turn up in a concert arrangement of one of the main themes (see "Concert Arrangements"). This interesting piece of music would eventually be used in the radio adaptation of Jedi. The RCA was re-titled "Sail Barge Assault (Alternate)".
17. THE EMPEROR ARRIVES (Disc 3, Track 6, FOXB; Disc 1, first part of Track 8, RCA)--Underscores Emperor Palpatine's arrival at the still-uncompleted Death Star. This cue introduces a new, sinister theme for the master of the Dark Side of the Force. This is the original recorded version of the cue. Here, the beginning is very similar to what was eventually written and used in the film, but in this rendition a trumpet and horn solo (not strings, as eventually used in the final film) lead into Vader's march. We'll discuss the film version of this cue later. Also, the final statement of Vader's march leading to the next cue was tracked in the final film with a later cue, which we'll also discuss later.
18. THE DEATH OF YODA (Disc 3, Track 7, FOXB; Disc 1, second part of Track 8, RCA)--We switch to gentler surroundings as Luke visits Dagobah for the last time to find a dying Yoda revealing the truth about Darth Vader, and giving the young student the last words of wisdom before he becomes one with the Force. "Yoda's Theme" is the basis for this cue. Here, to underscore Yoda's death, Williams takes the first few notes of "Yoda's Theme", lowers the third note by half a step while raising the fourth by half a step, and creates a series of four descending notes that would later turn up in a later cue. The piece, as originally recorded, opens with "Luke's Theme", but in the final film it was tracked with music from "Luke's Nocturnal Visitor" (from The Empire Strikes Back). The cue ends as we see the ghostly image of Ben Kenobi who will now reveal the truth behind Yoda's final words.
19. OBI-WAN'S REVELATION (Disc 1, third part of Track 8, RCA)--About 3/4 of this music was unused in the film, and was meant to underscore Ben's discussion with Luke about Darth Vader's identity, as well as that of his sister. "Ben's Theme" is the main basis of the cue. Music used in the film returns when Luke realizes Leia is his true sister. We then segue into space near Sullest where Rebel spaceships have re-unted for a briefing on the coming battle of Endor.
20. ALLIANCE ASSEMBLY (Disc 1, Track 9, RCA)--One track on the OLP is errornsly and purposely titled "Rebel Briefing". This particular cue might as well have been called that instead of the title that RCA gave this piece. In any event, this cue underscores the mission briefing by the Alliance leaders on the conflict against the Empire that is to come. Military music forms the construction of this track until we come to a brief reprise of "Luke's Theme" upon the young Jedi's appearance, after which the military motif returns to round out the track. Re-edited for the final film.
21. FAKING THE CODE (Disc 4, Track 13, FOXB; Disc 1, Track 10, RCA)--Descending horns and strings form this cue accompanying Han, Luke and company to Endor aboard a stolen shuttle. "Ben's Theme" and Vader's march intermingle while Luke senses Vader's presence aboard the Executor. The RCA was re-titled "Shuttle Tydiruim Approaches Endor".
22. SPEEDER BIKE CHASE (Disc 1, first part of Track 11, RCA)--The adventures on Endor begin with this brief track covering Luke and company scouting the forest moon for the shield generator. Starts out with slow processional music (with the descending horn motif heard in the earlier cue), then fast action music comes as Han takes on Stormtroopers, this leads to the title scene. Curiously enough, the music ends as the actual speeder bike chase begins, so the rest of this sequence goes unscored. This is one rare moment in the film where musical silence is utilized.
23. LAND OF THE EWOKS (Disc 1, second part of Track 11, RCA)--Lengthy cue begins when the speeder bike chase ends and Luke and Han begin their hunt for the injured Princess Leia. Meanwhile, the unconcious Princess has been awakened by a teddy bear-like creature called Ewok, and it is here that the "Parade Of The Ewoks" theme is introduced. The music quiets down briefly before dramatic passages underscore a confrontation with another Stormtrooper. We then segue to the Death Star as the Emperor instructs Vader to go to Endor to wait for Luke, whom the evil master of the Dark Side senses will come to his father to be brought to the Death Star for final conversion to the Dark Side of the Force (the Emperor's theme is again heard here). A brief reading of "Princess Leia's Theme" introduces the next segment where Luke, Han, and the Droids are caught in a booby trap. After they are set free by R2-D2, the cue is interuppted at the 8:40 mark by a 21-second segment of the film version of an earlier cue (we'll discuss this later in "Alternate Cues"). At the 9:01 mark, the cue resumes until the end.
24. EWOK FEAST (Disc 2, first part of Track 11, RCA)--First of two source cues from the Ewok sequences. This particular one, performed solely by percussion, underscores Luke and Han being presented as "the main course at a banquet" in C-3PO's honor at a special Ewok ceremony. In the film this piece crossfades into the next one...
25. THE LEVITATION/THREEPIO'S BEDTIME STORY (Disc 1, Track 12, RCA)--Two-part cue being presented here as one whole both in the film and on the RCA soundtracks, covering Luke using the Force to levitate C-3PO in exchange for the Ewoks releasing the captive group, followed immediately by 3PO describing, in his own native language, the story of the Galactic Civil War to the Ewoks. This will encourage the bear-like creatures to join the Rebel cause.
26. PART OF THE TRIBE (Disc 2, second part of Track 11, RCA)--The last of two source cues from the Ewok sequences, this one taking place after 3PO's story. Like its predecessor, this is performed solely with percussion.
27. THE BATTLE OF ENDOR
>From this point onward to the end of the film we go into the longest continuous cue in the entire trilogy, covering the triumpant climax of our story. There is no pause, just wall-to-wall music, a remarkable feat that could only be accomplished by John Williams and the London Symphony Orchestra. A section of tracked music from "Yoda And The Force" (from Empire) precedes all of this. Get ready, we're heading for home...
a) BROTHER AND SISTER (Disc 4, Track 14, FOXB; Disc 2, first part of Track 3, RCA)--This is the actual film version of the concert arrangement "Luke And Leia", as the young Jedi finally reveals to the Princess his relation to Darth Vader. Once again, we hear the four-note descention first heard in "The Death Of Yoda", followed by the introduction of "Luke And Leia"'s theme. "Han and Leia" rounds out the first movement as Leia reveals her confusing feelings to the Correlian.
b) FATHER AND SON (Disc 2, second part of Track 3, RCA)--In contrast, the following cue is a much darker passage, as Vader's march takes centerstage. Luke surrenders to Lord Vader in an attempt to bring his father out of the Dark Side, but to no avail. Luke allows himself to become a captive of the Empire to face the Emperor on the Death Star. As Vader ponders the future, we hear a sad passage of "Luke's Theme"...at least that is what ended the track as originally recorded (in the final film this was tracked with the tail end of "The Emperor Confronts Luke").
c) THE FLEET GOES INTO HYPERSPACE (Disc 4, second part of Track 3, FOXB; Disc 2, third part of Track 3, RCA)--A percussive prologue opens this movement as Han and company begin their approach towards the shield generator. A reprise of the "Ewok" parade segues into the title scene as Lando leads the Rebel spaceships into hyperspace in approach of the fourth moon of Endor. The "Throne Room" theme serves as the basis for this cue. On the FOXB, the music begins as we see the Falcon and accompanying spaceships, while the RCA presents this movement in its entirety. The RCA was re-titled "The Fleet Enters Hyperspace".
d) HEROIC EWOK (Side 2, Track 4, RCAG; Disc 4, first part of Track 3, FOXB; Disc 2, fourth part of Track 3, RCA)--A motif heard earlier in "Tatooine Rendezvous" is reprised in the opening of this movement, then as one of the Ewoks begins its chase of an Imperial riding a speeder bike, the "Ewok" parade takes over. On the RCAG, this music ends at the point where the Ewok overtakes the Stormtrooper, but the film version (as well as the FOXB and RCA) goes further as Han, Leia, and Chewie overtake the Imperial officers holding fort on the bunker. The final chord was left out of the FOXB but restored to the RCA.
e) THE EMPEROR CONFRONTS LUKE (Disc 3, Track 10, FOXB; Disc 2, Track 4, RCA)--A slow passage of Vader's march leads to a male choral accompanyment of the Emperor's theme as we see Luke finally coming face to face with Palpatine, Galactic Emperor, who is determined to complete the young Jedi's training and become a slave to the Dark Side of the Force. The last few seconds of this cue was tracked to the end of two earlier cues, "The Emperor Arrives" and "Father And Son". The RCA was re-titled "Emperor's Throne Room".
f) INTO THE TRAP (Side 1, Track 2, OLP; Side 2, first part of Track 3, RCAG; Disc 3, Track 11, FOXB; Disc 2, first part of Track 5, RCA)--Action cue accompanying the start of the Battle of Endor as Han and company infiltrate the bunker only to be captured by Imperials. Then we segue to majestic minor-chord passages (heard earlier in "Approaching The Death Star") underscoring Rebel spaceships (led by Lando Calrissian) coming out of hyperspace and approaching the Death Star, but when they find the shield is still in place, they turn back only to face Imperial fighters racing towards them. The dogfight in space commences at this point. Slightly edited for the final film.
g) FOREST AMBUSH (Disc 2, second part of Track 5, RCA)--Returning to the Death Star, the Emperor's theme can be heard as the mighty sorcerer urges Luke to retrieve his lightsaber and strike him down, thus giving in to the young Jedi's anger. We then segue back to Endor with Vader's march underscoring the Rebels taken prisoner by Imperial officers and Stormtroopers. 3PO and the Ewoks then lead some Troops into an Ewok trap, thus beginning...
h) FIRST EWOK BATTLE (Disc 3, first part of Track 12, FOXB; Disc 2, third part of Track 5, RCA)--Musical chaos develops as the ground battle gets underway. Musical themes are scattered in all directions (accompanying the dramatic action on screen), leading to a majestic (but minor-chord) motif that will be present in the next movement. For those of you soundtrack purists, this motif can be found in the section from 2:43 to 3:04 on the FOXB, and from 7:13 to 7:35 on the RCA. This movement was slightly re-edited for the final film. The RCA, re-titled "Scout Walker Scramble", presents the final film mix of this cue, while the FOXB presents a different one.
i) FIGHT WITH THE FIGHTERS (Side 2, Track 3, VAR; Disc 3, second part of Track 12, FOXB; Disc 2, fourth part of Track 5, RCA)--Possibly the best piece of music in the entire score, as we now shift between three battles simultaneously...the battle in space (from where this movement gets its title), the ground battle on Endor, and the Emperor ordering the Death Star space station fully operational. Not even words can describe this crucial piece of music that was sadly left out of the OLP. But there is use of Vader's march, the Ewok parade, and the majestic minor-chord motif we heard earlier in the previous movement. The first half of this on the VAR re-recording (titled "Fight With Tie Fighters") is very slow (when compared to what is heard in the film), thus ruining the dramatic effect. The RCA was re-titled "Prime Weapon Fires". This cue was edited slightly for the final film.
k) THE LIGHTSABER (Disc 2, second part of Track 6, RCA)--Picking up where the previous piece left off, this variation on the Emperor's theme underscores Luke finally succumbing to the temptations of the Dark Side and calling his lightsaber. The movement ends with a drum roll and heavy brass section that was replaced in the final film with tracked music from a later cue. On the RCA, this begins at the :46 mark of Track 6 immediately following a piece of an alternate cue (see "Alternate Cues" for the rest of this story). The final note of this was supposed to crossfade into the first note of the next cue, but on the RCA there is a short pause prior to the next piece...
l. THE EWOK BATTLE (Side 2, Track 1, RCAG; Disc 4, Track 7, FOXB; Disc 2, third part of Track 6, RCA)--If you have ever listened to the concert arrangement of "The Forest Battle" on any of the Jedi score recordings and have not seen the film, then you will have a general idea of what this actual film version sounds like, only it has been extended with a musical passage underscoring Chewie and the Ewoks' take-over of an AT-AT, and the midsection shortened in composition only. A six-second passage heard in the film when one of the AT-AT explodes was a re-recorded one (we'll deal with this shortly). This particular movement is presented as originally recorded and intended to be used. The last ten seconds of the track was supposed to underscore Han's failure to open the bunker door, but it was not used in the final film.
m. LEIA IS WOUNDED (Disc 4, Track 16, FOXB; Disc 2, first part of Track 7, RCA)--By the same token, the first seven seconds of this (an alternate intro also meant to underscore Han's failure to open the bunker door) wasn't used in the final film either (a tracked portion of "First Ewok Battle" was used). But from the 0:08 mark of the track the music is presented as heard in the film, covering Leia being shot in the arm by a Stormtrooper, and the opening phase of the lightsaber duel between Luke and his father, Darth Vader. The dramatic bridge from the previous "The Ewok Battle" is reprised as Chewie approaches the bunker, and the Emperor's theme re-surfaces during this first duel. The end of this track segues immediately into the next one, but a short pause divides the two on the RCA (in the actual film, the last note of this matches the first note of the next track). The second half of the track on the FOXB was called "Luke And Vader Duel", while on the RCA the second half was called "The Duel Begins". As with "First Ewok Battle", the RCA presents the final film mix, while the version on the FOXB is entirely different.
n. OVERTAKING THE BUNKER (Disc 2, second part of Track 7, RCA)--This next piece covers two scenes, the continuing dogfight in space and Han finally gaining access to the bunker. This short music is entirely original, no thematic material is used.
o. FINAL DUEL (Disc 3, first part of Track 14, FOXB; Disc 2, third part of Track 7, RCA)--This was one of the most requested pieces of Jedi music unreleased until the FOXB...the final phase of Luke and Vader's duel in the Death Star. Here chorus and orchestra blend in one of the darkest cues ever heard in the film. The Emperor's theme is reprised after Luke strikes Vader's hand. The section of music underscoring Luke comparing Darth Vader's amputated arm to that of his mechanical hand was tracked onto the end of the cue "The Lightsaber". "Ben's Theme" undercores Luke's declaration that he will fight no more, he is a true Jedi Knight. The RCA was the first part of the re-titled "The Dark Side Beckons".
p. INTO THE DEATH STAR (Disc 3, second part of Track 14, FOXB; Disc 2, fourth part of Track 7, RCA)--The beginning of this music is reminiscent of the end of "The Forest Battle" concert arrangement as the shield generator is destroyed. The violin ending of "Fight With The Fighters" is reprised, followed by a reading of the "Rebel Fanfare", as Lando and group prepare to penetrate the Death Star. On the RCA, this was the second half of the "The Dark Side Beckons" movement.
q. THE EMPEROR (Side 2, Track 3, OLP; Disc 3, Track 15, FOXB; Disc 2, fifth part of Track 7, RCA)--Here, the Emperor's theme takes centerstage as the sorcerer unleashes the power of the Dark Side on Luke Skywalker. The wounded Darth Vader is indecisive at first, but then the music turns triumphant as his good side (buried in the soul of Anakin Skywalker) surfaces. This redemption, set to "Ben's Theme", leads to the final commuppence of Emperor Palpatine. As his body explodes in the reactor shaft, the chorus and orchestra die down, and Luke crawls over to his father's side. The FOXB and RCA were re-titled "The Emperor's Death".
r. SUPERSTRUCTURE CHASE (Side 1, Track 3, VAR; Disc 2, first part of Track 7, RCA)--An arrangement of the "TIE Fighter Attack" music (from Star Wars: A New Hope) is heard during the scene where Lando leads a group of fighters into the bowels of the Death Star. As the group splits into two, the fast-pased "The Return Of The Jedi" arrangment of the "Rebel Fanfare" is heard, then an arrangement of a section of "X Wings Draw Fire" (also from Star Wars: A New Hope) underscores the final fate of the Super Star Destroyer Executor. The ending of this piece resembles the end of "TIE Fighter Attack", only it changes chords. Drum rolls follow, which leads to the next piece. The VAR is a re-arrangement and re-titled "Here They Come", placed in the Star Wars section of the disc.
s. DARTH VADER'S DEATH (section 1 intro) (Disc 1, third part of Track 2, RCA)--This is the original introduction to the music heard when Vader is unmasked. It starts out with the four-note motif heard in the "Approaching The Death Star" and "Into The Trap" cues, then goes into a horn reprise of Vader's march, and ends with synthsizers. This 27-second intro can be heard in the section from 5:16 to 5:43 mark on the RCA's Track 2. It was eventually replaced for the final film (see "Alternate Cues").
t. DARTH VADER'S DEATH (Side 2, Track 4, VAR; Disc 3, Track 16, FOXB; Disc 2, second part of Track 7, RCA)--After the introduction, this music picks up as heard in the film. A very subtle passage of Vader's march is heard when the Dark Lord is finally unmasked. As Anakin Skywalker, he tells Luke that he was right, and reminds his son to tell his sister the same. With that, Anakin Skywalker, Darth Vader, Luke's father, passes away. In the VAR arrangement, a series of bells are present in the final few chords, signifying death.
u. THROUGH THE FLAMES (Disc 3, Track 17, FOXB; Disc 2, third part of Track 7, RCA)--Triumphant cue underscoring the destruction of the Death Star. "Luke's Theme" is heard during the young Jedi's escape from the deteriorating docking bay, while the ending reminds us of the end passage from "The Return Of The Jedi". The first 20 seconds of this was not used, and was tracked with music from "Losing A Hand" (from The Empire Strikes Back). The RCA was re-titled "The Main Reactor".
v. LEIA BREAKS THE NEWS (Side 2, first part of Track 2, OLP; Disc 3, Track 18, FOXB; Disc 2, first part of Track 8, RCA)--Resolves the uneasy relationship between Han and Leia. "Luke and Leia"'s theme is put to use here. This original recorded version of the piece can be heard in the final version of the film. The OLP was purposely and intentionally re-titled "Rebel Briefing" in order to mislead and surprise people who had not yet seen the film (had it been titled correctly then, it would have spoiled the ending). The RCA's title was "Leia's News". See "Alternate Cues" for the rest of this story.
w. FUNERAL PYRE FOR A JEDI (Side 2, second part of Track 2, OLP: Disc 4, second part of Track 20, FOXB; Disc 2, second part of Track 8, RCA)--This music ends the long suite with Luke lighting a funeral pyre to cremate his father, Darth Vader. the former Anakin Skywalker. In this original recorded version, a bold rendition of "Ben's Theme" is used to great effect. On the OLP, this was the second part of the track titled "Rebel Briefing". The RCA was re-titled "Light Of The Force". Most of this cue was utilized for the radio adaptation of "Jedi". See "Alternate Cues" for the rest of this story.
28. EWOK CELEBRATION (Disc 4, first part of Track 21, FOXB)--The saga finally comes full circle with this celebratory music heard in the final scene in the film where Rebels and Ewoks share the joy in the final defeat of the Galactic Empire. This straightforward choral rendition is presented as originally intended to be used and actually heard in the film, complete with Ewok lyrics by sound designer Ben Burtt, followed by English lyrics by Joseph Williams (John's son) that reads, "Celebrate the love". See "Alternate Cues" for the rest of this story.
29. END TITLE (Side 2, second part of Track 5, OLP; Side 2, second part of Track 6, RCAG; Disc 3, second part of Track 19, FOXB; Disc 2, second part of Track 9, RCA)--Reprises all the major themes in Jedi, including "Luke's Theme", the "Ewok" parade, "Luke and Leia"'s theme, followed by an arrangment of the end medley of "Luke's Theme" and "Rebel Fanfare" from Star Wars: A New Hope. The entire saga triumphantly ends with a passage of the "Throne Room" music from the first film. Shortened for the original release version, and expanded for the "special edition" film release. Incidentally, the RCAG re-recording is stronger in arrangment than its soundtrack counterpart! The RCAG rendition alone is worth listening to.
ALTERNATE CUES
There are more alternate cues in the "Special Edition" soundtrack of Return Of The Jedi than any previous release, some of which are actually heard in the film. So without further adieu, here they are in film order...
1. LAPTI NEK (film version--Instrumental) (remains unreleased)--This is also the film version of the tune heard at Jabba's palace, only without vocals. In a sense, this remains unreleased, but in another sense, it's not. This version was used in the radio adaptation of Jedi (which is itself available on CD).
2. LAPTI NEK (album version) (Side 1, Track 6, OLP; Disc 4, Track 11, FOXB)--Yet another alternate version of the Jabba party tune. Entirely re-orchestrated with different Huttese vocals, and the London Symphony Orchestra is used for back-up. This was even released as a music video (as found on the LaserDisc box set, The Star Wars Trilogy: The Definitive Collection). The music video would make it's way onto VH1's "Hollywood & Vinyl" TV show, where it was presented as part of a preview for the blockbuster film soundtracks of 1998.
3. LAPTI NEK (English version) (remains unreleased)--Here is a fourth version of the Jabba party tune, this time done in the English language! The Huttese title translates to "Fancy Man". It too is unreleased, but it was heard in the PBS documentary From Star Wars To Jedi: The Making Of A Saga.
4. HAN SOLO RETURNS (Alternate version #2) (Disc 1, Track 5, RCA)--Another version of the scene for when Han Solo is released from his carbonite prison. The beginning is the same right up until Jabba appears. The Jabba theme section is different from its original counterpart. This version was used for the radio adaptation of Jedi.
5. HAN SOLO RETURNS (film version) (on the RCA)--Sections of the actual film version of the cue have been scattered on the RCA's Disc 1. The film version starts out the same as its two counterparts until Bousch reveals its mask. The section from where Leia is revealed until the curtain is open to reveal Jabba can be found at the 8:40 to 9:01 mark of the RCA's Track 11 ("Land Of The Ewoks"). The end section (where Han and Leia are led away by Jabba's goons) can be found at the 1:27 to 2:05 mark of the RCA's Track 6 ("Luke Confronts Jabba"). This will lead to tracked music from the tail ends of "Final Duel" and "Fight In The Dungeon".
6. THE RETURN OF THE JEDI (film version) (Side 2, Track 5, OLP; Side 1, Track 5, RCAG; Disc 3, Track 5, FOXB; Disc 1, second part of Track 7, RCA)--The version of the Sail Barge battle cue as heard in the film forsakes originality (as in the first recorded version) and uses some of the trilogy's major themes ("Luke's Theme", "Rebel Fanfare", "Ben's Death", "TIE Fighter Attack", "X Wings Draw Fire") as its basis. The beginning, middle, and end sections are essentially the same. The RCA was re-titled "Sail Barge Assault".
7. THE EMPEROR ARRIVES (first section, film version) (Disc 2, first part of Track 6, RCA)--This is an edited version of the cue's opening section as actually heard in the film. This is the part that was re-scored when the Emperor's shuttle arrives at the Death Star. This can be heard at the 0:00 to :46 mark of the RCA's Disc 2, Track 6 ("The Lightsaber").
8. THE EWOK BATTLE (six-second bridge) (remains unreleased)--This passage can be heard in the actual film just as the first AT-AT explodes and the Ewoks cheer for joy. This has never been released in any format.
9. DARTH VADER'S DEATH (introduction-section 1, film version) (Side 2, first part of Track 5, VAR; Disc 3, first part of Track 16, FOXB; Disc 2, second part of Track 8, RCA)--Re-recorded 15-second introduction to the cue for the title scene as it was actually heard in the film. The VAR rendition runs a bit slower in pace (I prefer the one in the film).
10 LEIA BREAKS THE NEWS (alternate) (Disc 4, first part of Track 20, FOXB)--Re-recording of the cue (ultimately never used in the film) where Leia and Han resolve their relationship while revealing Luke's relationship to Leia. Generally the same arrangement right up until Han and Leia start to kiss. Then we get a fast version of the "Han and Leia" theme, followed by a reprise of the Ewok parade. The final chord though, is along the same lines as its actual film counterpart.
11. FUNERAL PYRE FOR A JEDI (film version) (Disc 4, second part of Track 20, FOXB; Disc 2, third part of Track 9, RCA)--The scene where Luke cremates his father, Darth Vader, was re-scored for the final film. This is a more softer variation on "Ben's Theme" rather than the more majestic one heard in the original recorded cue. On the RCA, for some strange reason, this was coupled with the original version and re-titled "Light Of The Force".
12. EWOK CELEBRATION (alternate film version mix) (remains unavailable)--This is the same film version of the climactic celebration scene, only without orchestration. This version was used in the Jedi radio adaptation, which is itself available on CD.
13. EWOK CELEBRATION (album version) (Side 2, first part of Track 6, OLP; Disc 3, first part of Track 19, FOXB)--Different mix of the celebratory music from the end of the film, with the Ewoks' voices more present than the straightforward chorus heard in the actual film, but the ending is basically the same (Ewok lyrics crossfading into English lyrics).
CONCERT ARRANGEMENTS
1. JABBA THE HUT (Side 1, Track 4, RCAG; Side 2, Track 4, VAR)--Straightforward presentation of the tuba-laden theme for the slug-like creature. The last half of this was the basis for the original version of the "Han Solo Returns" cue.
2. PARADE OF THE EWOKS (Side 1, Track 4, OLP; Side 1, Track 2, RCAG; Side 2, Track 1, VAR; Disc 3, Track 8, FOXB; Disc 2, Track 1, RCA)--A new march written for the cuddly teddy bear-like creatures of Endor. There's a neat introduction on the VAR not present on any of the other recordings.
3. LUKE AND LEIA (Side 1, Track 3, OLP & RCAG; Side 2, Track 2, VAR; Disc 3, Track 9, FOXB; Disc 2, Track 2, RCA)--A subtle, quiet love theme for Luke and Leia that reflects their true relationship to each other. The actual film version of this can be found on the FOXB's Disc 4-Track 14, and on RCA's Disc 2-Track 3. Incidentally, the better arrangement can be found on the VAR re-recording.
4. THE FOREST BATTLE (Side 2, Track 1, OLP; Side 2, Track 5, RCAG; Disc 3, Track 13, FOXB; Disc 2, Track 12, RCA)--This arrangment of the Ewok battle music was originally written specifically for the OLP, but after listening to this you will get a good idea of what kind of music Williams came up with for the actual film cue. A short passage of this, by the way, is present in the original version of the "The Return Of The Jedi" cue. The RCAG was re-titled "Battle In The Forest".
SPECIAL EDITION MUSIC
Return Of The Jedi is the only film in the trilogy which has had new music written especially for the 1997 "special edition" re-release. We will now list these two pieces of music in film order.
1. JEDI ROCKS (Disc 1, Track 14, RCA)--New Jabba's palace music written not by John Williams, but by Jerry Hey. This replaces the "Lapti Nek" number from the original release version. Both George Lucas and Jedi's director, the late Richard Marquand, wanted to have some sort of elaborate production number to open the film, but such was not possible in 1983. So for the 1997 "special edition" Lucas had Hey come up with this particular tune. There are two parts to this. The "special edition" film presents these two parts in its correct sequence... the first part being the improvisational portion, the second being the vocal section. On the RCA, these two parts are reversed.
2. VICTORY CELEBRATION (Disc 2, first part of Track 10, RCA)--To replace "Ewok Celebration", John Williams decided to write an entirely new piece to fit the expanded finale on Tatooine, Bespin, and Endor. This Latin-styled cue fits this revised finale rather well. Williams re-assembled the London Symphony Orchestra and Chorus especially for this new music.
AND THE REST OF THE STORY...
As for the end titles in the special edition releases, the credit music was expanded with certain sections repeated to fit in the additional crew names. For Star Wars: A New Hope, "Luke's Theme" was repeated. For The Empire Strikes Back, the "Yoda's Theme"/"Imperial March" transition was re-used followed by the "Imperial March" reprise. And for Return Of The Jedi, a section of the Ewok parade reprise was re-used.