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Section Header
Star Wars: The Phantom Menace
1999 Sony

2000 2-CD Sony

Composed, Conducted, and Produced by:
John Williams

Performed by:
The London Symphony Orchestra

Vocals by:
The London Voices

The New London Children's Choir

Recorded at:
Abbey Road Studios, London (1998-1999)

Orchestrated by:
Conrad Pope
John Neufeld

Labels and Dates:
Sony Classical
(1-CD album)
(May 4th, 1999)

Sony Classical
(2-CD album)
(November 14th, 2000)

Also See:
Revenge of the Sith
Attack of the Clones
Return of the Jedi
The Empire Strikes Back
Star Wars

Audio Clips:
1999 Album:

2. Duel of the Fates (0:32):
WMA (213K)  MP3 (269K)
Real Audio (189K)

3. Anakin's Theme (0:36):
WMA (234K)  MP3 (298K)
Real Audio (210K)

5. The Sith Spacecraft and the Droid Battle (0:30):
WMA (202K)  MP3 (254K)
Real Audio (179K)

15. Qui-Gon's Noble End (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)

2000 Album:

CD1: 31. The Flag Parade (0:30):
WMA (204K)  MP3 (254K)
Real Audio (179K)

CD1: 32. Sebulba's Dirty Hand/Qui-Gon's Pep Talk (0:31):
WMA (202K)  MP3 (254K)
Real Audio (179K)

CD2: 1. Anakin is Free (0:30):
WMA (202K)  MP3 (254K)
Real Audio (179K)

CD2: 28. The Tide Turns/The Death of Darth Maul (0:31):
WMA (204K)  MP3 (254K)
Real Audio (179K)

The original 1999 album was a regular international release on CD, cassette, blister pack, and minidisc. Many of the international release dates were the same as the United States date of May 4th.

The commerial 2-CD set in 2000 had two official release dates, alternating between November 14th and November 21st in different areas. It was generally more difficult to find in stores.

  Nominated for a Grammy Award.

Star Wars: The Phantom Menace

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Buy it... on the original 1999 Sony release if you seek a decent overview of perhaps the best of the three Star Wars prequel scores.

Avoid it... on Sony's badly edited, but expanded 2000 "Ultimate Edition" if you absolutely demand that you hear all of John Williams' music for the film, because claims of its "complete" status are erroneous.

Star Wars: The Phantom Menace: (John Williams) And so the saga continued... Never in the history of cinema had one film been so eagerly awaited, with costumed fans lining streets for weeks, a few getting married right on the spot, waiting to be among the first to view the initial prequel to George Lucas' famed Star Wars trilogy of the late 1970's and early 1980's. The mystique of that original trilogy had been amplified when Lucas upgraded its films' special effects and re-released them to theatres in 1997, stirring the pot of hype to such frenzied levels that Star Wars: The Phantom Menace was assured phenomenal profits. The whole of the second trilogy that has followed is not revered to an extent even approaching the original classics, but they are nevertheless dazzling entertainment. Not only were fans of the films desperate for a glimpse of the Old Republic, but film score collectors were equally enthralled by the possibilities. The most anticipated film score in the history of Hollywood, the first The Phantom Menace album hit the shelves two weeks before the film's theatrical opening, causing enough explosive interest online alone to shut down entire networks because of bandwidth stress (bootlegged versions of the album, among the first to be immediately leaked online, didn't help the situation). Meanwhile, across the globe in Yugoslavia, as war between the Serbs and NATO raged at the time, the propaganda machine of Slobodan Milosevic was using John Williams' "Imperial March" from The Empire Strikes Back as the soundtrack to its films equating America with Nazi Germany. The same piece was endlessly incorporated into stadium playlists for sports events around the world. Even members of the public not familiar with science fiction, or even those who rarely venture to the big screens, could recognize the title march for the Star Wars franchise. The music itself was a phenomenon, and after several years of absence from the genre of high adventure, Williams fans could not have asked for a better gift. The original album cost Sony Classical millions of dollars to purchase the rights for and produce, though with an equal amount of copies sold worldwide, the popularity of the music for the franchise was confirmed.

In terms of film music history, the prequel trilogy that included The Phantom Menace, Attack of the Clones, and Revenge of the Sith bracketed arguably the most respected and impressive trilogy of music of all time: Howard Shore's massive work for Peter Jackson's The Lord of the Rings. Williams' scores for the Star Wars franchise had always been considered the modern standard in the use of leitmotifs, and his incorporation of themes from previous films into a subsequent sequel or prequel is always intelligent and appreciated. When you look at the prequel trilogy of Star Wars films, a set for which Williams knew there would be follow-ups and had a general outline of how the characters and situations would mature, there was surprisingly little foreshadowing, if any, of future themes in The Phantom Menace. While he very adeptly included most of the major themes from the previous trilogy in the ranks of The Phantom Menace, you hear no previewed applications of material heard in Attack of the Clones or Revenge of the Sith, even when such usage would have been more than appropriate (such as the potential use of a fragment of the "Across the Stars" love theme from Attack of the Clones when Anakin and Padme first meet). In these regards, the seeming lack of planning ahead by Williams sets his prequel trilogy music, despite its numerous strengths, a step behind Shore's excruciatingly developed set of countless motifs for the three The Lord of the Rings films. Indeed, the circumstances and time frames behind the productions were different, but whenever you go back and listen to the score for The Phantom Menace, this difference becomes blindingly clear. In short, how cool would it have been if when Attack of the Clones and Revenge of the Sith had debuted, fragments of seemingly orphaned themes from The Phantom Menace were finally explained? Williams doesn't work like that, though, and instead he endeavors to very cleverly build upon previous material to produce continuity. Even the initial idea of re-scoring parts of A New Hope at the time of the "Special Edition" to include "The Imperial March" as the permanent identity of the Galactic Empire was axed.

Regardless of this minor retrospective complaint, The Phantom Menace is still an outstanding standalone score and entry in the franchise. Williams once again uses the London Symphony Orchestra to its fullest capacity, and this time intersperses massive choral accompaniment throughout the score (a technique missing from most of the original trilogy scores and only prominently used for a scene or two in Return of the Jedi). The second trilogy truly defined a new style of extraordinarily complex action writing for Williams. The roots of this sound come from Indiana Jones and the Last Crusade (and, to a lesser extent, Hook) and these techniques are most evident in the rhythmic staggering of primary and counterpoint harmony, explosive sixteenth notes on trumpets, and a distinct progression of timpani and cymbal accents. One of the few faults of this score is that its music for the encroaching droid army, as well as some of the more noble statements of theme on low strings, are highly reminiscent of Indiana Jones and the Last Crusade. By the end of the prequel trilogy, however, Williams had redefined the identity of this sound as that of these films specifically, and in subsequent efforts, including Indiana Jones and the Kingdom Crystal Skull, the trademark sound of Williams' Digital Age action writing is commonly referred to as that of the Star Wars prequel trilogy of scores. Within the three efforts in that group, an argument can be made that the cohesiveness of Williams' handling of thematic and instrumental continuity declined in each successive score. While some fans complained about a lack of truly tight thematic structure in The Phantom Menace, it has a much stronger core identity than Revenge of the Sith, which, by necessity, had a certain chaotic element to its personality. Williams achieved this success with The Phantom Menace in part because of the consistency in action material as already discussed, and also partly because there were fewer thematic elements to constantly juggle. That said, Williams' handling of the classic trilogy themes, in conjunction with the two major new ones, is about as well organized as anyone could have expected. And, as we all know, the expectations with this score were extremely high.

Of the two major themes that Williams introduces in The Phantom Menace, the more famous one is ironically quite limited in its application, both in this movie and its successors. The "Duel of the Fates" theme only appears as the three-location battle late in the film gets heated up, and it specifically accompanies the lightsaber battle between the two Jedi and Darth Maul. Distinct because of its sixteenth notes for brass and chanting adult chorus over turbulent percussion, "Duel of the Fates" is an explosively frightening theme to hear over the pivotal battle sequence. Woodwind interludes can barely compete with the brass, which convey both the heroic and tragic elements that emerge from the outcome of the duel. The chorus performs with the same overbearing sense of gravity as in Williams' Indiana Jones and Temple of Doom, and while its contributions really present the theme of the piece, the rowdy five-note brass bursts over the top produce the lasting memory. Some listeners have complained that the choral element is overblown, and on album that can be the case; in the film, you don't suffer as much from the mix (or the repetitive false endings) that you hear in the concert version of the theme. Although the boisterous title theme has more raw orchestral power to offer, the beauty of the score resides in "Anakin's Theme." Ever so carefully crafted, this idea for the "chosen one" has a tender, floating quality on the one side and a morbid sense of doom on the other. In the latter stages of the theme, listeners are greeted by a subtle and haunting foreshadowing of "The Imperial March." So no matter how cute the kid is (and no matter how often his theme starts each segment with hope and loftiness), the idea always returns to its destiny with "The Imperial March" in its final four notes. This masterful touch is one of the best uses of theme from Williams in years, and its continuous, brooding truth returns at regular intervals in the score. This theme, unlike the "Duel of the Fates" (which only rears its ugly head again in Revenge of the Sith), is developed extensively in the two subsequent prequel scores as well, being integrated directly into the love theme at the heart of Attack of the Clones and fading away to only hints as the boy's innocence is lost.

Williams does conjure several other new motifs, but they only make a minimal difference. A whispering chant for Darth Maul is distinctive, but not particularly memorable. A handful of ideas for Anakin's Tatooine relationships is never clearly defined. Qui-Gon's theme is underutilized, but consistent. The use of previous thematic material in The Phantom Menace, however, is both intelligent and satisfying. Perhaps no single cue is as enjoyable as the full rip-roaring performance of "The Imperial March" at the end of Attack of the Clones, but The Phantom Menace is a better score in which to seek out renditions of the theme for "The Force," which was an integral part of A New Hope. The Jedi and their council are often treated to appropriately noble performances of this theme on horns, and key cues involving Anakin's freedom and future training make frequent use of this idea. The theme for the future emperor, only heard in Return of the Jedi in the classic trilogy, is the second most frequently stated existing theme in The Phantom Menace, with almost all of Darth Sidious' scenes with Darth Maul accompanied by the familiar, deep male choral theme. Williams even cleverly adapts the theme into the melody of the celebration song at the end of the film, one of the most creatively rewarding adaptations in the prequel trilogy. Otherwise, the use of previous themes is held to a minimum. The most surprising aspect of The Phantom Menace is just how seldom Williams inserts the title theme from the entire franchise; outside of its mandatory usage in the opening and closing titles, there are only a couple of notable utilizations, the first and most obvious occurring during the two Jedi's defensive droid battle near the outset of the film. The usual fanfare is also absent from the end of the closing credits. The theme for the budding empire, as mentioned before, is still one film away at this point, but in addition to being suggested in "Anakin's Theme," it makes one token appearance during a conversation about the ominous future that the Jedi foresee (this cue is featured under different titles in the two commercial album released). In the same cue is one comforting statement of the first section of Yoda's theme. The crowd-pleaser of the lot is, surprisingly, the theme for Jabba the Hutt, which Williams adapts into a completely different emotional setting for the preamble to the pod race on Tatooine.

The score's presentation on album was initially greeted with enthusiasm, though when fans saw the film they quickly realized that the first single-CD Sony album is sadly inadequate. It was also rearranged significantly for the purposes of a listening experience, and not only are the cues out of chronological order, but they are sometimes mislabeled as well. What follows in this review is a track-by-track analysis of mainly the first commercial album, which covers all the major bases, and then some supplemental discussion about Sony's 2-CD follow-up product. On the first commercial product, the score predictably opens as all the others in the franchise have. The Star Wars fanfare is presented in almost an identical form, with the only difference seemingly being an emphasis on a heavier mix of the snare. The next cue, "The Arrival at Naboo," offers one of the score's generic fanfares (which would, incidentally, carry over to the other pictures whenever Lucas provides a transitional vista shot). The album's two concert suites follow. "Duel of the Fates" was released to radio stations a week before the official release of the entire album, and a music video version was adapted for television. The piece does annoyingly roll into two false endings during which the ensemble comes to one symphonic blast on key, and then halts for a few seconds before building up to yet another climax. Like the "Luke and Leia" theme in Return of the Jedi, the concert version of "Duel of the Fates" is overextended and functions better when integrated into the rest of the score. The concert suite of "Anakin's Theme" is next in line, and is a far easier listening experience. In "Jar Jar's Introduction," Williams establishes a light, bouncing atmosphere around strings and woodwinds that will remind listeners of the frivolous and playful nature of the Ewoks' music. A high, whimsical spirit follows in "The Swim to Otoh Gunga," with an ethereal female choir lending an extra dimension to the underwater sequences throughout the film. The "Sith Spacecraft and the Droid Battle" combo track features the first ass-kicking action cue, with an abundance of triplets with a hint of the "Imperial March"'s minor key (Sith) references and a portion of the noble "Duel of the Fates" counterpoint brass motif. The cue resembles "Into the Trap" from Return of the Jedi, albeit with far more complex structures.

In "The Trip to the Naboo Temple," Williams pulls shades of Indiana Jones and Temple of Doom in its bold strength and slightly exotic tendencies. For "The Arrival at Tatooine," Williams remains loyal to the franchise, with a jolly spirit of rhythm for the droids carrying over from early in A New Hope. Commonly performed by orchestral groups in its own concert suite arrangement, "The Flag Parade" is a pivotal cue in the score and perhaps the most vibrant of the suites usually appearing on compilations. Its presentation here is badly rearranged so that its natural introduction is withheld until the "Anakin Defeats Sebulba" track later on the album. Still, it's a wildly royal fanfare that takes inspiration from the great race preludes from Hollywood's Golden Age and its accompaniment of the colorful effects-laden scene is stunning on screen. A superb return to the simmering music of Anakin's fate, "He is the Chosen One" toys with the theme for "The Force," a few notes of "Yoda's theme," and the character's own musical identity, with turbulent, low string shades not unlike those from the later A.I. Artificial Intelligence. With the fanfare at the end of this track and the start of the actual pod race sequence, the album really starts to pick up the pace. In "Anakin Defeats Sebulba," we finally hear the other half of the parade sequence. Following one of the more satisfying expressions of "The Force" theme, Williams launches into a massively impressive performance of Jabba the Hutt's theme; it's almost unrecognizable with so much low brass performing the tune instead of a single tuba. The cue establishes an enormous amount of suspense, resulting in a rigorous action cue much like "Den of the Rancor" in Return of the Jedi. The victorious tone at the end is announced by a few bold timpani rolls. Turning back to earlier scenes in Naboo, the eerie effect of wavering strings and a singular flute in "Passage Through the Planet Core" produces adequately creepy underscore, with a very alienating quality. The following "Watto's Deal and Kids at Play" track is unremarkable if not for the "The Force" theme's unadulterated performance in the latter half of the its mix, with a performance that is similar to the one high among the Endor trees in Return of the Jedi.

The first instance of the franchise theme in full on the commercial album occurs in "Panaka and the Queen's Protectors," a frantic adventure cue with the "Duel of the Fates" theme well integrated into the action. A spirited, seldom used theme for the cause of Naboo is best heard in the first minute of this cue. Beginning with a sense of agony, "Queen Amidala and the Naboo Palace" is both sinister and forbidding, though Anakin's theme rescues the cue and leads into yet another massive fanfare for the Naboo's glorious waterfalls. The sweeping strings in this cue seem constantly at battle with the militaristic percussion that boils underneath the surface at all times. For the third time on this album, the track ends abruptly with a single orchestral hit (something that happened often in the recording of the score for The Empire Strikes Back), and it's likely due to the fact that the cue is meant to lead directly into another recording when edited. The scenes for the invasion of the droids provide excellent, pulsating action, with muted trombones and relentless, charged strings. The cue almost falls into chaos at points, before the second section begins with "Appearance of Darth Maul." Williams, with fantastic success, uses a sort of howling effect (likely on synthesizer) to mirror the sound of a crying, lone wolf to signify coming evil. The ensuing silence yields to a full, deep choral statement of the Emperor's theme. Although brief, this extremely enjoyable moment is pure evil. Qui-Gon's death scene is scored with a final few blasts of the five-note brass counterpoint motif before transitioning to a quick and pounding array of percussion and timpani that likely accompanies part of the concurrent space battle. The Jedi meeting and funeral sequence is another interesting collection of themes interpolated very well, with Yoda's theme making one brief, but noble appearance, and one longer and subtle performance of the "Imperial March" on low woodwinds. The funeral scene incorporates an almost Viking-like chorus, with "The Force" theme providing one last tribute to Qui-Gon. The fact that this cue doesn't make outward use of Qui-Gon's theme (which you really don't hear on this album anyway) is a bit odd, though the effect of the cue in the film is quite stirring.

The final cue in the film and on this album is the only truly disappointing part of the equation. Williams inserts yet another cute and fuzzy theme right out of the Ewok book for the celebratory finale. The music is absolutely hideous, complete with a children's "la-la" vocals and funky, totally bizarre electronics. To his credit, Williams lets the audience know that the trick is on everyone except Senator Palpatine, for the melody the children are performing is a light-hearted version of the "Emperor's Theme." It's not as harsh as "Lapti Nek" from Return of the Jedi, but it produces the same effect. Unfortunately, the performance doesn't mesh well at all with the start of the usual end credit sequence, which is something that Williams at least attempted to do with his original celebration music at the end of Return of the Jedi (before the new scene was added in 1997). The end title format is the same as it has been in all of the other Star Wars scores, with the exception of the fact that it doesn't allow the franchise theme one last performance at the end. The concert versions of "Duel of the Fates" and "Anakin's Theme" are mostly identical to their previous incarnations early on the album, though Williams does extend the dark undertones of Anakin's theme into very slight hints of "The Imperial March" in the waning seconds. The audience is left to contemplate the darkness to come, about which little argument can be made. On the whole, it didn't take long for fans to realize that this initial album presentation for The Phantom Menace was completely chopped up and rearranged almost to the point of confusion. But it is as Williams wanted to be, and as a coherent listening experience, it functions well enough (so long as you don't try too hard to correlate each cue with the action you remember on the screen). The album was strong enough to convince fans that Williams was indeed back in fit Star Wars shape, and for the majority of casual listeners, the inclusion of the two concert suites makes the product a sufficient buy. But Star Wars scores had a history of causing dissatisfaction on album, and even Sony's highly advertised and anticipated follow-up release a year later would cause collectors to scratch their heads.

With millions of copies of the original 1999 album sold, the expanded, 2-CD "Ultimate Edition" of The Phantom Menace hit the shelves sooner than expected. Along with the 10 to 16-year wait that fans of the franchise were accustomed to when it came to full soundtrack releases, the timing of this particular release for Sony was very curious. First, there was no DVD release of any of the films at the time, and the VHS release was many months prior, meaning that there was no tie-in for this album to accompany. Secondly, there were thousands upon thousands of copies of the original 1999 album still in stores, and the expanded release was certain to cause those originals to either be returned to Sony at a great monetary loss, or simply collect dust on the store shelves. At any rate, November 2000 was the chosen time for Sony to generously supply a more complete version of the The Phantom Menace score on album. It was likely brought to the attention of Sony that bootlegs of the "complete" score had been floating around the internet market for over a year already, and perhaps a legitimate expanded release, they might have figured, would shift that demand to a consumer product. Fans disappointed by the single CD status of the original album first praised the news of an expanded release, but soon after the first promotional copies of this 2-CD set became available, a new controversy erupted. The packaging, as well as press releases from Sony, indicated that every single note of Williams' score for the film would be included in sequence on the album. At first, this recipe sounded much like the final, complete releases of the first three Star Wars scores. But Sony decided to do something odd with this product. Instead of taking the master tapes of Williams' recording sessions in their raw form and provide those original performances on this set, fans are instead presented with what is essentially an "isolated score" track of edited music from the film itself. Therefore, most of the tracks run together (without the usual inter-track pauses) and, while the volume is consistent, sharp edits on some of the cues make this album very different from the typically fine-crafted Williams presentations of the modern age. Cues are returned to their proper titles, though, with "The High Council Meeting" on first album correctly termed "The Queen Confronts Nute and Rune" here.

Williams himself was not particularly happy with the final film edit of many of his cues, claiming that a certain amount of injustice was done to them in the last days of frantic editing of the production by George Lucas. Both men will admit, however, that it was too late to rescore the film by that point. But even so, this doesn't necessarily mean that Sony was artistically forced to abandon the original master recordings and instead simply suck the music track right out of the film. What does this mean for you? Well, it means that the 2-CD set contains few fade-ins and fade-outs, as well as several abrupt shifts, and the suite performances are not heard at all. Thus, if you prefer Williams' delicate and masterful talent for creating smooth, suite-formatted albums of his music, then you might be better off with the original. Some die-hard fans went so far as to accuse Sony of taking the cheapest route in producing the album, but it's entirely possible that the label mistakenly assumed that this format was what the fans wanted to hear. At any rate, when the original album debuted, it was missing several important cues and, in some cases, minimized a few thematic elements to almost non-existence. The middle third of the score contained significant melodic development for Qui-Gon and Anakin's relationships on Tatooine. The Qui-Gon theme is heard triumphantly at the start of "Anakin is Free" (obviously conveying the Jedi's success at acquiring the freedom of the fateful boy) and fleetingly during his actual death scene. While it doesn't relate directly to his funeral cue, this idea is the one that often produces many comments about Williams' lifting of material from Indiana Jones and the Last Crusade because of its similarly stately manner on strings. The themes for Anakin's relationships, likely tied in with his mother (by Williams' intent), are evident at the outsets of "The Racer Roars To Life" and "Hail to the Winner," and Williams summarizes these ideas for the last scene on Tatooine (heard again in "Anakin is Free"). Some of these performances are quite compelling, including the heroism of the first two tracks just mentioned and the solemn beauty of the solo woodwind rendition in the middle of "Anakin is Free."

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Two cues of music that made a monumental impact in the film but were painfully missing from the first album are provided in their full forms here. First, the "Anakin is Free" cue is obviously pivotal, and not only does it wrap up most of Qui-Gon's material and that of Anakin's youth and mother, but it also concludes with a rousing and memorable performance of "The Force" theme. The other cue is "The Tide Turns," which accompanies the scene in which Anakin single-handedly destroys the federation station at the climax of the film. A heroic combination of "The Force" theme and the "Duel of the Fates" counterpoint motif are explosively presented in this three-minute cue. With these cues alone, most fans should be satisfied with the album. A few additional performances of "The Force" theme exist only on this product, including a notable one in "Shmi and Qui-Gon Talk." The second CD contains the mass of really good unreleased music, from the two major tracks above to the distinct "Gungan March" (complete with native horn effects). That CD is plagued with most of the poor edits, however; "Duel of the Fates" is split into pieces because of the ongoing shifts in location between the space battle, droid battle, and the lightsaber duel. These sharp fades, such as the jarring transitions starting at "The Duel Continues" and continuing for three more cues, are a great detriment to the album even though such cuts weren't noticed with all the sound effects during the film. Of the 68 tracks on the two CDs, only 20 of them have pleasant fades at the start and end. The listening experience over those entire 68 tracks is a bit more difficult if you want to enjoy all the music from end-to-end, but if you're only seeking key omissions from the first album, then this set will suffice. The beautiful packaging does have a few flaws, including the lack of much notation and the restriction of track titles to one section deep within the attached insert. And, of course, the album isn't complete. Despite Sony's publicity effort, there are pieces of cues here and there that are missing, and of course the suites are also gone. Two bonus tracks, including one source piece and the audio track to the "Duel of the Fates" music video, are instead provided. Ultimately, regardless of quibbles over the album situation, The Phantom Menace remains a fantastic entry in the Star Wars franchise, perhaps even the best of the prequel scores. Seek it with confidence. Price Hunt: CD or Download

    Music as Written for Film: *****
    Music as Heard on 1999 Sony Album: ****
    Music as Heard on 2000 Sony Album: ****
    Overall: *****

Bias Check:For John Williams reviews at Filmtracks, the average editorial rating is 3.74 (in 69 reviews)
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 Track Listings (1999 Album): Total Time: 74:15

• 1. Star Wars Main Title and the Arrival at Naboo (2:55)
• 2. Duel of the Fates (4:14)
• 3. Anakin's Theme (3:09)
• 4. Jar Jar's Introduction and the Swim to Otoh Gunga (5:07)
• 5. The Sith Spacecraft and the Droid Battle (2:37)
• 6. The Trip to the Naboo Temple and the Audience with Boss Nass (4:07)
• 7. The Arrival at Tatooine and the Flag Parade (4:04)
• 8. He is the Chosen One (3:53)
• 9. Anakin Defeats Sebulba (4:24)
• 10. Passage Through the Planet Core (4:48)
• 11. Watto's Deal and Kids at Play (4:57)
• 12. Panaka and the Queen's Protectors (3:24)
• 13. Queen Amidala and the Naboo Palace (4:51)
• 14. The Droid Invasion and the Appearance of Darth Maul (5:14)
• 15. Qui-Gon's Noble End (3:48)
• 16. The High Council Meeting and Qui-Gon's Funeral (3:09)
• 17. Augie's Municipal Band and End Credits (9:37)

 Track Listings (2000 2-CD Album): Total Time: 124:31

CD 1: (57:27)

• 1. Fox Fanfare (0:23)

Treachery Within the Federation
The Invasion of Naboo

• 2. Star Wars Main Title (1:24)
• 3. Boarding the Federation Battleship (2:31)
• 4. Death Warrant for Qui-Gon and Obi-Wan (1:18)
• 5. Fighting the Destroyer Droids (1:44)
• 6. Queen Amidala Warns the Federation (2:23)
• 7. The Droid Invasion (1:00)

Underwater Adventure
• 8. Swimming to Otoh Gunga (0:56)
• 9. Inside the Bubble City (3:05)
• 10. Attack of the Giant Fish (1:37)

Darth Sidious and the Passage Through the Planet Core
• 11. Darth Sidious (1:04)

The Giant Squid and the Attack on Theed
• 12. The Giant Squid and the Attack on Theed (1:18)
• 13. Qui-Gon and Obi-Wan Rescue the Queen (2:09)
• 14. Fighting the Guards (1:42)
• 15. Escape from Naboo (2:04)
• 16. Enter Darth Maul (1:07)

Destination Tatooine, Home of Anakin Skywalker
• 17. The Arrival at Tatooine (2:28)
• 18. Street Band of Mos Espa (1:17)
• 19. Padme Meets Anakin (1:12)
• 20. Desert Winds (1:28)
• 21. Jar Jar's Run In with Sebulba (1:18)
• 22. Anakin's Home and the Introduction to Threepio (2:42)

The Dark Forces Plot
• 23. Darth Sidious and Darth Maul (1:12)

Qui-Gon Bets on Anakin
• 24. Talk of Podracing (2:59)

Anakin Closes in On His Destiny
• 25. Watto's Deal/Shmi and Qui-Gon Talk (2:24)
• 26. Anakin, Podracer Mechanic (1:38)
• 27. The Racer Roars to Life/Anakin's Midi-Chlorian Count (1:24)
• 28. Darth Maul and the Sith Spacecraft (1:00)
• 29. Mos Espa Arena Band (0:53)
• 30. Watto's Roll of the Die (1:59)
• 31. The Flag Parade (1:14)
• 32. Sebulba's Dirty Hand/Qui-Gon's Pep Talk (1:37)

Anakin's Victory
• 33. Anakin Defeats Sebulba (2:17)

The Cheering Crowd
• 34. Hail to the Winner, Anakin Skywalker (1:13)

Mos Espa Folk Song
• 35. The Street Singer (1:13)
CD 2: (67:04)

To Coruscant and to Palpatine and the Senate
• 1. Anakin is Free (5:04)
• 2. Qui-Gon and Darth Maul Meet (1:48)
• 3. Anakin and Group to Coruscant (4:11)

Palpatine's Treachery
• 4. The Queen and Palpatine (0:41)

Qui-Gon Goes Before Yoda
• 5. High Council Meeting (2:37)

War Clouds and an Alliance with
Boss Nass and the Gungans

• 6. The Senate (1:12)
• 7. Anakin's Test (3:41)
• 8. Qui-Gon's Mission/Obi-Wan's Warning (3:47)
• 9. Nute and Rune Confer with Darth Sidious (0:29)
• 10. The Queen and Group Land on Naboo (2:19)
• 11. Jar Jar Leads Group to the Gungans (2:25)
• 12. War Plans (2:31)

Prelude to War
• 13. Darth Sidious Receives News of the Gungan Army (0:25)
• 14. The Gungans March (0:57)

The Great Battle Begins
• 15. The Queen and her Group Sneak Back to the Palace (0:18)
• 16. The Battle Begins (0:24)
• 17. The Republic Pilots Take Off Into Space (1:26)

The Battle Continues
• 18. Activate the Droids (0:44)
• 19. The Gungans Fight Back (0:24)
• 20. The Duel Begins (0:51)
• 21. Anakin Takes Off in Spaceship (0:47)
• 22. The Duel Continues (0:59)
• 23. The Battle Rages On (1:59)
• 24. Qui-Gon, Obi-Wan and Darth Maul Continue Battle (1:22)

The War at its Darkest
• 25. Qui-Gon, Darth Maul, and the Invisible Wall (0:14)
• 26. The Gungans Retreat and the Queen Surrenders (2:18)
• 27. The Death of Qui-Gon and the Surrender of the Gungans (2:28)

Good Triumphs Over Evil
• 28. The Tide Turns/The Death of Darth Maul (3:24)

The Wrap-Up
• 29. The Queen Confronts Nute and Rune (1:47)
• 30. The Funeral of Qui-Gon (1:18)

Victory Parade
• 31. The Parade (1:24)

• 32. End Credits (8:14)
• 33. Duel of the Fates (Dialogue Version) (4:21)

 Notes and Quotes:  

scoring sessions
John Williams conducts the London Symphony Orchestra and London Voices for the recording of the finale sequence in February, 1999.

The 1999 album's insert contains notes from both Williams and Lucas about the score, and the packaging unfolds into a poster featuring the film's major characters.

The 2000 expanded album's insert contains only one short, general note about the music. The design of the packaging is phenomenal, with beautiful colorful screen shots for each track and a holographic outer casing. Several flaws do distinguish this set from previous "complete" Star Wars albums, however. First, there are no track listings on the outside, and since the insert cannot be removed from the casing (it's glued in), you have to keep the entire package opened to reference the tracks while listening to either album. Secondly, the album contains no in-depth notes about the scoring of the film or production of the music, including a surprising lack of complete credits. Thirdly, the cover is among the ugliest ever to exist on any soundtrack album.

In the news at the time of the score's initial release on album were several performances of the various concert arrangements in The Phantom Menace by The Boston Pops. The group's regularly scheduled performances from May 26th through May 28th, 1999, conducted by Williams, contained these tributes to the work. The concerts featured a collection of "Classic Film Music" in addition to the highly anticipated new Star Wars music. The May 27th performance also featured a special appearance by guest Itzhak Perlman at the violin for a supplemental arrangement of Schindler's List. All of these performances took place at the Boston Symphony Hall, on the Avenue of the Arts in Boston.

Much of the online hype about the score in April and May of 1999 was due to extensive advance information and previews of the score released on the official Star Wars web site. After the original album's release, the site remained active for a few years with an excellent look at the Star Wars/John Williams collaboration and biographical information about members of the score's production crew. This original incarnation of the site has since been removed.

  All artwork and sound clips from Star Wars: The Phantom Menace are Copyright © 1999, 2000, Sony Classical (1-CD album), Sony Classical (2-CD album). The reviews and other textual content contained on the site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 3/23/99 and last updated 7/21/08. Review Version 5.1 (PHP). Copyright © 1999-2015, Christian Clemmensen (Filmtracks Publications). All rights reserved.