TW03
Hello,
The first studio version of 'Tighter Noose' was recorded at a friend’s studio in the Valley here in LA, sometime around 2003. It’s been up on my Bandcamp for a while now.
What hasn’t been released—at least not officially—is the original demo version, recorded on a digital 8-track back in 1998. Written before Humanistic, the song didn’t find a permanent home until Armed to the Teeth was released in 2005. Perhaps it should've been on Humanistic -- I was once told that had this song been on the album it "would have been the favorite song."
As a thank you for joining the mailing list, I’m sharing the original 1998 demo with you. Fair warning: it’s rough—very rough. Just drum machine, guitar and bass amp simulators, and a Shure 58 mic. Both the production and mixing are unrefined, reflecting the era in which it was created. Nonetheless, it offers an insightful look into the song’s origins and its evolution into the version you know today.
Tighter Noose (first demo).mp3
Onward....
Top 10 Favorite John Williams Album Tracks (part 2)
In our previous newsletter, we explored tracks 1–5 of this curated list of hidden gems by John Williams — you can catch up on that installment [here]. As a quick refresher, this collection highlights ten underrated pieces from Williams’ vast repertoire. While they may not be his most iconic scores, they’re the ones I find myself returning to time and again, even outside the context of the films they were composed for.
If you'd like to listen along whilst reading, the playlist is available here:
6. “The Forest Battle” from Star Wars, Return of the Jedi
The track opens with a string ostinato and a rhythmic melody in the horns, quickly evolving into a series of brass fanfares and horn rips. The Ewok theme, played on woodblocks and woodwinds, feels like a blend of classic Hollywood musical numbers and a French Can-Can, with trumpets and trombones adding a playful, lively touch. Several themes are passed around throughout, all building (spoiler alert) toward the eventual triumph of the murderous teddy bears over their Imperial foes. The result is pure John Williams Hollywood magic, as he masterfully builds the tension toward a triumphant brass fanfare conclusion—complete with a missed note from the horns at the very end. But given the energy and length of this piece, you can’t blame them; they must have been exhausted by the end.
Similar goodness on this album: “Into the Trap"
7. “The Dementors Converge” from Harry Potter and the Prisoner of Azkaban
This is a horror track, and a brilliantly crafted one at that. It has all the classic elements: choppy cellos, sliding strings, piccolos sounding the alarm, and a gothic choir that adds to the foreboding atmosphere. But what truly sets this track apart is the magic that begins around 1:28. To say it’s complex would be an understatement—bi-tonal melodies and fanfares clash with a ritualistic choir, weaving together a rich tapestry of dark magic, all building toward a massive crescendo. Williams then concludes with a dissonant, eerie melody played on what sounds like water-filled glasses (perhaps a euphone). After hearing this, you realize just how dark this children’s story really is, perfectly capturing the unsettling tone in the tradition of a Grimms' Fairytale.
8. “Hymn to the Fallen” from Saving Private Ryan
Williams enlisted the Boston Symphony Orchestra and the Tanglewood Festival Chorus for this extraordinary work, recorded in Symphony Hall, Boston, in February 1998. Drawing on the spirit of Americana folk music—echoing the simplicity of “Simple Gifts” in Copland’s Appalachian Spring or the noble grandeur of Fanfare for the Common Man—Hymn to the Fallen deeply reflects the character and tone of the film. It stands as a poignant tribute to the American soldiers of World War II, despite being used only during the credits. As someone whose father served as a Royal Canadian Air Force bomber pilot in WWII, this one hits me right in the chest.
9. “Over the Moon” from E.T.
This recording showcases what seems like a particularly challenging piano solo—likely something only a pianist of Williams' caliber could compose. From a theoretical perspective, what makes this piece so captivating is the way the theme is paired with chromatically descending major 7th chords in first inversion. If that's gobbledygook to you, it simply means that the beauty and wonder of the melody are preserved against a backdrop of subtle uncertainty -- not something your average composer is capable of.
10. “Desert Chase” from Raiders of the Lost Ark
Growing up, Indiana Jones (and Harrison Ford, in general) was my cinematic ideal of what it meant to be a man. Sadly, this kind of filmmaking is largely missing from modern movies. This era gave us characters to look up to while sparking our own creativity. While there are several tracks from this score that stand out (the love theme is especially memorable), "Desert Chase" best captures the essence of our adolescent thirst for adventure. The key to its success lies in its phenomenal pacing. It's a long chase scene that could have easily become tiresome, but Williams expertly varies the tempo and style, shifting from triplet fanfares to string ostinatos and slowly building into a march. This progression keeps the energy high, culminating in the iconic hero's theme—a perfect representation of the timeless battle between good and evil, led by a character with a true north and a strong moral compass.
BONUS: “Anything Goes” from Indiana Jones and the Temple of Doom
Williams' arrangement of Cole Porter's song "Anything Goes" is the energetic dance number that opens the movie, and what a spectacular opening it is. The music is once again diegetic—meaning it occurs within the story's context and can be heard by the characters. Here, Williams really shows off his mastery of classic Hollywood style, crafting an arrangement straight out of a 1930s Broadway musical, which matches the film’s time period. He also weaves in elements of Chinese folk music, reflecting the setting of the opening scene. It's a brilliant piece, and only someone with Williams’ pedigree and experience could pull it off so well.
For a deeper dive into John Williams’ music, I strongly recommend The Soundtrack Show podcast hosted by David W. Collins.
Once again, I plan on posting video tutorials on my YouTube channel in the near future. It would be greatly appreciated if you would subscribe:
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Thanks for reading,
Tommy
