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This episode was fantastic!!

Galaxy, he has smaller ambitions than Jango.

Mr Powell has been killing it this year with releases on his own private label. What’s the next expansion of his scores you hope for OTHER than the remaining two Dragons scores? Personally I’d love for an expanded X-Men: The Last Stand. Perhaps Paycheck. And The Road to El Dorado has been a personal favorite of mine since that film came out. His “Save El Dorado” cue is just a flat-out swashbuckling blast of Powell fun

So I’m finally getting ’round to this one. Of course, had to pair it with an Irish whiskey. By the way, love the name of that dram!

I'm really glad they're pushing the Imperial Remnant angle. #mercyformidichlorians! I don't mind them at all and don't think they take any mystique away from the Force in their basic concept at all.

No. "Dark troopers" were first introduced -- and named as such -- in the 1995 LucasArts PC game "Dark Forces." https://starwars.fandom.com/wiki/Dark_trooper While old EU material is now "Legends," the Disney team can pick and choose what they want to bring into new canon. Moff Gideon is playing the part of General Rom Mohc from the game, and Gideon's giant cruiser may as well be the Arc Hammer. As a longtime fan of the Dark Forces/Jedi Knight game franchise, this episode had me extremely giddy for the direction of the show. I know a lot of us spent big money on therapy to forget about this, but let's all remember together: midichlorians.

I would have paid $30 to watch Tenet at home. I still am, except now I’ll own it on 4K!

I wouldn't exactly tell you it's not this type of a film as Academy loves biopics serving as award vehicles for their stars. The film certainly that...on the surface. But it is also certainly wittier and demanding more attention from its audience. The script is quite sharp. The direction is first rate. Like yourself, I generally dislike Oscar-bait dramas for their tediousness and safeness. This kept me engaged all the way through. I started watching after 11pm just to see what it looks like and ended up finishing it even though I had along and tiring day. So yes, it is in a way WHAT you expect but not necessarily HOW you expect it. Karol

Oops sorry! The excitement clearly gave me a rush of blood to the head! @Kühni?! Thanks!

Expanded? No. Premieres? Yes. The very first Odyssey Soundtrack Spotlight was for The Don Is Dead: http://goldsmithodyssey.buzzsprout.com/159614/5097955-odyssey-soundtrack-spotlight-the-don-is-dead-1973 And stay tuned because within a week we’ll be releasing a very belated one on Intrada’s first Goldsmith premiere this year: Take Her, She’s Mine. And we got John Takis, Chris Malone, and (for the first time) Mike Mattesino as guests on it! I’ve been really bad about updating the podcast thread this year, but you can always see what we’ve been up to at www.goldsmithodyssey.com. Yavar

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Bloodboal posted this

Here's a copy! Also, "Soundtrack!" magazine did an interview with him when The Phantom Menace came out. (But ignore his response to the Municipal Band/Emperor question -- I think he and Ford were talking past each other.)

I've thought about that every time stormtroopers have appeared since season 1. There's just something off about their armor, but I can't put my finger on what. I had a similar feeling about them in Rogue One, although not as much.

Don't quit your JW addiction, a Giacchino one might pop up.

The only thing I care about that movie is if she will bring Don Davis back.

Don't miss this!

The previous episode, while not perfect, was better than this. Most of them look fine to me. It's just the cursory writing that bothers me. Karol

Really? I thought the visuals were probably the worst thing about it. Filoni should stop writing and directing I think and just be sort of a big picture guy supporting the shows.

I must get this, I missed the CD re-issue but noticed that V/S released it digitally at the time as well. Don't want to miss out as I did with Lionheart: DE

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Someone wants Force powers. I'm guessing it's Gideon, considering the darksaber. He will probably end up being even more power-hungry than Thrawn, who is perhaps the all-time greatest second in command. But it could also be for Snoke/Palpatine experiments like some have speculated. It has been mentioned that we will start to see the rise of the First Order so I can't rule this theory out. I would rather it be the first option though

Ok, I have one.

Road to El Dorado NEEDS to be expanded, as the OST is pretty lame and focuses only on the Elton John songs. I love the main theme, it's so swashbuckling and fun!

Any of the Kung Fu Pandas.

https://m.youtube.com/watch?v=uMyCa35_mOg

I'd love an X-Men 3, I really dig that score.

I think so too. I think come 2022 the box office will be about the same as 2019 or 2018

I'd buy anything he puts out, but his best scores that still have a substantial amount of unreleased music (and ignoring the fact many are available through other means...) are... The Bourne Identity The Adventures Of Pluto Nash Paycheck The Bourne Supremacy Mr. & Mrs. Smith X-Men: The Last Stand How To Train Your Dragon 2 Pan How To Train Your Dragon: The Hidden World

I didn't say HE is stupid, I said it is stupid to bash a score with out seeing the film it is scored for.

GoldenEye tank chase.

Is it just me or was this episode kind of underwhelming and lame? Karol

X-Men would have been nice. But I doubt it will happen as the score was recorded in LA in 2006. Chicken Run would be good. Karol

I completely agree. I think it would be interesting to trace exactly how grand orchestral scores have come to be viewed almost as tasteless by people who fancy themselves as intellectual.

You STILL haven't received this!?😗 I'm. ' Thor' on this one. Ost is fine ( but I might have purchased a SINGLE disc expansion)

Great news for those who missed it. It’s a wonderful score. Yavar

Listen to this part (from Monteverdi: 'Deus in Adjutorium') Sounds almost exactly as this trumpet fanfare part (Liberty Fanfare): Only a small phrase, but still

I'm surprised so many of you pick HALLOWEEN. I mean, it's a famous theme, no doubt, but no chance in hell it would be recognized by any of my friends who are not into films.

This arrangement of Captain Marvel's theme

“Track 1 - Applause” ... gonna have this one on repeat for weeks on end..

The chorus singing "Laudate" (or some such thing) with the drumkit backdrop is very 60s, and I was surprised to hear it in a western setting when I first heard it, but I think it's cute! THE SECRET WAYS would probably be my second choice after STORY OF A WOMAN. His first proper, dramatic score. The film is pretty good too, a kind of THE THIRD MAN Light. I always expect "Duel of the Fates" to start up when the flute ostinato kicks in around the minute-mark in the opening credits:

Rey's theme is the highlight of the whole trilogy. And while Kylo's theme can't compare with either Darth Vader's theme from Star Wars or The Imperial March it's remarkably effective. When it signaled Kylo's entrance at Disneyland's Jedi Academy you could hear people gasp. We knew who was next.

Due to the nature of this season's score release, I have concluded that while it is not exactly ideal to continue the thematic analysis precisely as I did last year, it would still be good to dissect the album and the music therein using a format that combines the timestamping and writing that I have done in the past. Getting to know Goransson's score for this season has been a very interesting experience, it being very different in circumstance compared to last year. I recall hearing the odd update in the months leading up to October; how he had begun work shortly after finishing Tenet, recorded with strings for the first 7 episodes and larger orchestra for the finale thereafter, and wrapped up in good time. I was quite surprised at the turn around, and also intrigued by the news of the orchestra size. At the end of the day I was thankful they were able to record anything, but I was still anxious about the almost inevitable new:tracked material ratio when it came to the premier. With each episode I have gained appreciation for the execution of the music this season, a worthy achievement when you take a step back. I appreciate hearing Goransson strengthen his writing for strings, tweak pre-existing cues and effectively integrate them in with fresh music, and pull out all the stops in his studio to continue the sound he established without a noticeable drop-off. And it works! Even under these circumstances I'd still very much like to have had all the music for this season available, tracked and all, yet I remain extremely grateful for the excellent release that is Volume 1, as it is quite a smashing album. Without further ado, let's dive right in! 01. Mando Is Back (4:05) You can already hear the studio work pulling its weight from the beginning, with this kicker of an opening that features an array of guitars, synths and wild recorders, all under a tough beat as Mando walks through the graffiti town. We hear statements of the familiar recorder theme in different settings, the second of which plays out like a beefed up version of the guitar rendition in Ch. 8's A Thousand Tears, percussion and synth being the key additions. The confident western motif returns, and we hear brass stabs of the recorder outline (likely backtracked from the final episode, as it certainly doesn't appear anywhere else before). A tracked but altered statement of the Razor Crest theme closes the cue. 0:11 Recorder Riff (guitar version) 1:15 Recorder Riff (guitar version) 1:26 Western Motif (downbeat) 1:32 Western Motif (downbeat) 1:38 Western Motif (downbeat) 1:44 Western Motif (downbeat) 1:50 Western Motif (downbeat) 1:56 Western Motif (downbeat) Recorder Riff (skeletal/outline) 2:00 Western Motif (downbeat) 2:55 Western Motif (downbeat) 3:07 Razor Crest 3:32 Recorder Riff Western Motif (interlude) 3:37 Western Motif (downbeat w/ interlude) 3:43 Western Motif (downbeat) 3:49 Rhodes Motif 02. Enjoy the Fights (2:56) It's hard to really describe what this cue is, beyond wacky goodness. The self-contained piece is extremely unique, even for this show, the full percussion, vocal effects and wailing horn sound (almost like a bagpipe?) really walk the line between score and source music. Brooding strings enter as Mando sits down beside Gor Korresh, the one-eyed informant, and watches the pigs fight. At 2:03, the drop and ripple synth present in Ch. 3's Second Thoughts is reprised purely for effect. No thematic material is present here. 03. The Marshal's Tale (6:06) With that we move to Tatooine, getting our first taste of many one-off set pieces in double form, first with a cool speederbiking melody and then into Cobb Vanth's flashback, which features a dramatic string idea that is briefly alluded to later in the episode in an unreleased cue. This is a very apt combination that works extremely well, despite there being two unreleased sections totaling just under 3 minutes that technically separate the pair in episode. The first is Cobb Vanth's introduction cue, which itself is essentially reprised in a more fleshed out form starting at 4:44, and the second is an upbeat 20 second travelling insert that leads into the the story. Another item of interest is the the flashback appears to hint at the Tusken Raider theme for the episode, but more on that later. Note that for all intensive purposes the one-off melody is notated below alongside proper themes. 0:07 Speederbiking to Mos Pelgo 0:12 Recorder Riff (weaving in & out) 0:44 Speederbiking to Mos Pelgo 0:50 Recorder Riff (weaving in & out) 1:03 Recorder Riff 1:21 Speederbiking to Mos Pelgo (acoustic guitar version) 1:58 Recorder Riff 2:38 Dramatic Flashback String Idea 3:28 Tusken Raiders (?) 3:57 Jawa Motif 4:12 Recorder Riff (skeletal/outline) 4:16 Jawa Motif 4:26 Jawa Motif 5:23 Dramatic Flashback String Idea 04. Tusken Raiders (3:19) I must admit that I was disappointed when I first heard this on album, as I was almost certain going in that this would include the big Tusken statement when the banthas enter town, paired with the Arabian recorder riff for the journey to the dragon cave. Unfortunately these two cues remain unreleased, much to my surprise, but this track is still a nice one to have, considering the others are well-mixed in episode and fairly salvageable. Goransson touches up sections of a number of cues here, including Ch. 5's Raiders, Ch. 1's Face to Face, and Ch. 7's The Standoff. I'll repeat my initial comments about the former, in that the muted trumpets give off a sort of Star Trek vibe, as in, the original series. The middle section lays the groundwork for the two-parted Tusken Raider motif. 0:02 Fanfare (ascending closing figure) [Raiders] 0:12 Fanfare (ascending closing figure) [Raiders] 0:43 Tusken Raiders A 0:55 Tusken Raiders B 1:07 Tusken Raiders A 1:19 Tusken Raiders B 1:38 Fanfare (ascending closing figure) (guitar version) 1:50 Fanfare (ascending closing figure) (guitar version) 05. Get the Child (2:07) The latter half of Ch. 5's Raiders is referenced here, featuring filtered percussion and recorder textures. The second part of the track, after a snappy title card, features a dynamic guitar idea that has a similar shape to elements of the show's main theme without any striking similarities. 0:55 Western Motif (downbeat) 1:01 Western Motif (downbeat) 06. Beneath the Ice (5:26) This track has really grown on me. I remembered little of this sequence after viewing the episode, so hearing this music in particular was a revelation. Once again it is quite unlike anything else in the show's repertoire, focusing on a chilly atmosphere and taking the form of an eerie sound collage. It's a real treat, with brief glances at the new material for Baby Yoda, as well as the recorder riff in slick guitar mode, fitting in perfectly with the mood of the cue. I dig it! 4:34 Recorder Riff 07. Snacks (2:47) Snacks is actually one of two sequences with fuller displays of the new music for Baby Yoda (and the all that he consumes, apparently). An earlier unreleased cue is a bit longer in its presentation, and isn't cut off by a hard synth takeover in the final minute as happens here, fully equipped for a spider attack with aleatoric pizzicato. Decidedly cute zings and plucks form an idea that seems mostly connected to that which Baby Yoda eats, but is still rather fluid, as the next track indicates. Goransson touches upon Ch. 5's Bright Eyes and essentially reverts to it as the theme of Baby Yoda and his antics this season, shedding the mysterious motif that the child once took claim to last year. 0:19 Bright Eyes (underneath) Snacks/Eggs 08. Reunited (1:41) A lovely expansion on Snacks underscores the reunion between the frog lady and her husband. Strings take up the sweet melody, intermixed with hints of Bright Eyes and glimmering synths. Without a doubt one of the standout cues on the album. 0:08 Snacks/Eggs Bright Eyes (underneath) 0:46 Bright Eyes (string rendition) 0:55 Snacks/Eggs 1:16 Snacks/Eggs (high-pitched synth interjections of Bright Eyes) 09. Ship o hoj, Mandalorians! (8:00) Cute title aside, this is a real stunner of a set piece, spanning nearly five cues and successfully covering the new theme for Bo Katan and company in several different settings, ultimately posing as a suite for Chapter 13. A staticky accordion idea for the creatures of the harbour planet appears at the beginning of the track, as well as in an unreleased cue. From there Bo Katan's theme pumps and pounds, fully at home in its Tenet-esque surroundings (on that note, I've begun a fun project to "rescore" Tenet with Mando excerpts). It's quick and punchy, and works so well amongst the fun beats and sound that Goransson paints in and around it, even going as far into the realm of pop music to include a beat drop in the final minute. Low-key pizzicato renditions find zings of Baby Yoda creeping in ever so briefly before the second half of the track enters into full action mode for the transport heist. There's no question in my mind- this is yet another season highlight, and superbly edited for the album too! 0:39 Bo-Katan and Co. 0:46 Bo-Katan and Co. 1:00 Bo-Katan and Co. 1:07 Bo-Katan and Co. 1:10 Drama B 1:13 Bo-Katan and Co. 1:34 Bo-Katan and Co. 2:16 Bo-Katan and Co. 2:26 Bo-Katan and Co. 2:30 Drama B 2:35 Bo-Katan and Co. 2:57 Fanfare 3:06 Western Motif (downbeat) 3:33 Bo-Katan and Co. 3:40 Bo-Katan and Co. (pizzicato) 3:47 Bo-Katan and Co. (pizzicato) 3:54 Bo-Katan and Co. (pizzicato) 4:02 Bo-Katan and Co. (pizzicato) 4:06 Bright Eyes 4:44 Bo-Katan and Co. 4:50 Bo-Katan and Co. 5:16 Bo-Katan and Co. (underneath) 5:23 Bo-Katan and Co. (off-kilter variation) 5:43 Drama B 6:54 Bo-Katan and Co. 6:56 Bo-Katan and Co. 6:58 Bo-Katan and Co. 7:04 Bo-Katan and Co. (partial expansion) 10. Long Live the Empire (4:06) It was only a matter of time before Moff Gideon's theme made it's season debut, and this next track nearly reaches the heights of Ch. 8's The Ewebb in terms of hyper-focused development for the big baddie of the show. A standard introduction gives way to those warning signals that are the swirling strings, pushed to the limit all throughout this 4 minute cue. Interesting to note that statements of the Moff's A section are hardly ever completed in their fullest form at this point, as if to save up for bigger things later in the season. All in all, his theme is put through the grinder here, and is unrelenting in it's fight against Mando and company, who only get a small shred of heroism in the middle of the track, courtesy of the recently discovered utility motif. The end of the track borrows from portions of Ch. 1's Back for Beskar, before fluttering synth takes off. 0:13 Moff Gideon A 0:36 Moff's Frenetic Strings 0:39 Moff Gideon A 0:59 Moff's Frenetic Strings (variation) 1:11 Moff Gideon A 1:27 Moff Gideon A 1:45 Utility Motif (heroic variation) 2:03 Moff's Frenetic Strings 2:27 Moff Gideon A 3:04 Western Motif (downbeat) 3:11 Western Motif (downbeat) 3:19 Western Motif (downbeat) 3:27 Western Motif (downbeat) Drama B 3:40 Drama A Drama B 11. Back Together (2:20) Back Together is a fun little arrival cue to introduce the Chapter 14 content of the album. Familiar themes make appearances in new iterations, and Baby Yoda's appetite is expanded, so to speak, with even more shimmer and shine to it than before. 0:00 Rhodes Motif 0:02 Utility Motif (string variation) 0:24 Fanfare (guitar variation) 1:09 Rhodes Motif 1:21 Bright Eyes 1:33 Snacks/Eggs (first half) 12. Experiment (5:17) This track is similar to Long Live the Empire in it's intensity and focus on the villain material. A deep choral effect opens, as if to echo the Snoke/Palpatine throat singing of the Williams Star Wars canon. A surprise cameo appearance from the Client's cello theme is made, before Moff Gideon takes over the cue with some particularly Kylo Ren sounding strands of his theme's A section. At one point, Goransson's Tenet sensibilities come to the fore once again; you can clearly hear a point where time is running out, so to speak. The recorder riff plays out on strings, reminiscent of sections in Ch. 6. The drama motifs appear, and a hybrid string melody that appears to cross Kylo Ren with Moff Gideon, and then some, enters the conversation at 4:01. 0:17 The Client 0:47 Moff Gideon A (partial variation) 1:14 Moff Gideon A (brief variation) 1:31 Moff's Frenetic Strings 2:02 Recorder Riff (string variation) 2:28 Recorder Riff (string variation) 2:59 Drama A Drama B 4:24 Drama A 13. Quite a Soldier (2:47) While it's not the most satisfying conclusion, and perhaps isn't even the most wanted reference to this particular heme, Goransson's solemn March of the Resistance quote is a great inclusion for the album. Between this and the "trap" version, he really highlights his ability to tinker, pushing the theme in completely new directions, which is a promising indication as to how keen Goransson is on ensuring his stamp is always present (think Powell's Solo rather than Giacchino's Rogue One). Moff Gideon makes a cliffhanger return and, as far as my personal playlist is concerned, the credits roll. 0:17 March of the Resistance 2:02 Moff Gideon A 2:17 Moff's Frenetic Strings 2:20 Moff Gideon A ... Thank you for reading! I have been very busy lately, but I assure you that this album has been getting no shortage of plays on my end. I have not been able to dissect episode-by-episode for the last two weeks, whether it be writing or extracting audio, as I'm starting to realize that it doesn't really make sense to do that at this point, but I was confident that I'd be able to timestamp and briefly share a few thoughts on each track released thus far, and so I did. I have next to no gripes with this album, save some key missing music (more is more with Mando!). Cannot wait for Volume 2! Other ongoing things in the way of Mando music includes isolated score videos for Ch. 8, available to view in this Drive folder (check it out if you haven't yet- they're fun!), as well as an exciting development for the "all-in-one-place" catalogue of write-ups/themes/etc. More on that later! Cheers and keep on listening!

But is it funny?

I can listen to them whenever, but listening to them during October-December is the most rewarding.

Absolutely.