It's crazy to me that we now have the complete scores for Solo and Rogue One, masses of music for the various TV shows and a three hour(!) soundtrack for a video game yet we're still waiting for definitive releases of the John Williams scores.
I'm more sure than ever that they are coming - I just hope they do them right!
First of all, great to see more expanded/complete(?) Star Wars scores released! Here's hoping for more, in the proper format.
I have mixed feelings about this score, for various reasons... The inconsistency of Giacchino applying the Williams template (for me) is nicely demonstrated by these two contrasting passages:
(1:30 - 1:38)
The strings are very busy here creating a ramp-up of tension, but somehow the actual notes sound kind of random to me, and in the end it lands in exactly the same harmonic place as it started, making it feel kind of static.
Compare this:
(0:41 - 0:51)
Here, the climbing string lines have an actual purpose and reach a new target at the end, modulating to a new key (twice!) - nicely adapting the sound of ANH's Imperial Attack escape sequence. I actually really like the climactic combination of Vader's theme and Death Star motif.
If this is sad news for you, I conclude you are planning to stay in your day job until you are 100?
Sorry for kidding. But for me this is great news in every possible way. This 90 year old fellow plans to continue making music! Writing. Conducting. I mean, how good could it get?
After all the rumours and stories how this worked in ithe production of Rise of Skywalker and how much he had to work for the trash can, I think, it is also much more valuable for us fans to get more of his concert works rather than another score.
Already in a more chronological way (and the Suites at the end), the listening experience of the OST is better than the way it was presented on the CD.
“I don’t particularly want to do films anymore,” Williams said. “Six months of life at my age is a long time.” In his next phase, he plans to focus more intensely on another passion: writing concert works, of which he has already produced several dozen. He has visions of another piece for a longtime collaborator, the cellist Yo-Yo Ma, and he is planning his first proper piano concerto.
This year, he will complete what he expects to be his final two films: “The Fabelmans,” loosely based on Spielberg’s childhood, and a fifth installment in the “Indiana Jones” series.
“The Fabelmans” has been particularly emotional, he said, given its importance to Spielberg. On a recent day, he recounted, the director wept as Williams played through several scenes on the piano.
Williams said that he expected “The Fabelmans” would be the pair’s final film collaboration, though he added that it was hard to say no to Spielberg, whom he considers a brother. (Spielberg, for his part, said that Williams had promised to continue scoring his films indefinitely. “I feel pretty secure,” he said.)
I also found this. Thomas Newman celebrates John Williams on his 90th birthday.
Can anyone post the whole program of Newman celebrating Williams? I can't access it:
Before digging into the score proper, it’s probably best to begin by dissecting Göransson’s end credits track, which was released as a single alongside the first episode. Bear in mind that it has been hard to make any clear distinction between what each of the different parts of the piece represent, so the assigned titles are merely for the sake of differentiation at this point. These don't necessarily need to be themes for anything in particular, but I've tried my best to come up with appropriate names for the time being. They will be updated later on if need be.
The track begins with a shanty-like repeating phrase, which we'll call the Buccaneer theme because a) it sounds more than a little pirate-y and b) that was the working title for the show. This idea has appeared over all the title cards thus far, much like the simple "Western" piano motif in Mando.
The next section kicks in at 0:20, with those wonderfully bold vocals taking up the "Main" theme (it's no more or less integral than any of the other melodies here but I don't know what else to call it just yet...stay tuned). There are two main phrases followed by a B section at 0:56, complete with little trumpet accents.
A brief vocal segue at 1:09 sets up the choral Tribe Fanfare at 1:14. This idea appears to be most connected to Boba's experiences with the sand people, and also mirrors the structure of the Mando credits by breaking out in a way that's similar to the Razor Crest Fanfare. The second phrase is touched up by brass and strings rather nicely.
At 1:49, the Reborn theme emerges on brass, with a second statement at 2:08 backed by vocals. The piece proceeds to close the way it began, with a bombastic outro for the Buccaneer theme repeating from 2:29 to the end.
Aside from all of these, there is also Boba's Jaunty Riff from Mando S2, the Desert Fanfare which played over the post-credits scene teaser (and coincidentally sounds very similar to a decidedly exotic version of the Recorder Riff from Chapter 9 of Mando, which can be compared here), as well as a slew of organic noises and breathy sounds that act as interchangeable calling cards for the character. Now without further ado, let's take a look at what this first volume has to offer!
01. Rebirth (3:16) from Chapter 1: Stranger in a Strange Land
This makes for a decent album opener, all things considered, underscoring the show's prologue with rumbling strings and otherworldly shimmers. Vocals emerge at 0:50 along with Boba's wind stinger, giving way to a short string lament before veering into harsher sound design. Percussive thumps and tambourine cut through the chaos, with chord outlines of the Reborn theme setting the stage for the first big statement, which comes as Boba emerges from the sarlacc pit at 2:40.
02. The Stranger (3:01) from Chapter 1: Stranger in a Strange Land
A mysterious harp intro continues the first episode's lengthy flashback opening, with a fantastic combination of vocals, percussion, and all manner of strange sounds and effects accompanying the Tuskens first appearance as they capture (rescue?) our dazed bounty hunter. The Reborn theme returns at 1:03, eventually growing in size for a second statement. A strummed rendition of the Buccaneer theme follows, complete with vocal dressings. The varied instrumentation blends together wonderfully, connecting these ideas with ease before the Reborn theme emerges again at 1:53, with some off-kilter development beginning around 2:15. The Buccaneer theme returns on cellos over the first title card with big supporting brass chords. The whole cue is an excellent sampler of the score's sound and style, and makes good use of Göransson’s themes to boot.
03. Normal Day at the Office (2:41) from Chapter 1: Stranger in a Strange Land
Big brass hits and electronics help Boba to suit up with style, donning his armour as he prepares to receive tribute from several colourful characters. The track then moves into rather low-key and lighthearted dialogue underscore. A sneaky pizzicato version of the Desert Fanfare plays at 0:50. The relatively laid back sound continues until the end, with some light string touches grounding the quirky plucked passages.
04. Fear Is a Sure Bet (3:48) from Chapter 1: Stranger in a Strange Land
The first action set piece of the show is a little underwhelming, relying on largely abrasive electronics to underscore a standoff and chase scene. The Desert Fanfare clears the space for the Jaunty Riff at 1:16, with trembling strings repeating the Desert Fanfare from 1:30 and on. More anonymous action follows, and overlapping strands of the Desert Fanfare appear briefly again at 1:58. For the most part, this is not a particularly notable cue, and the absence of Chapter 2's far superior train sequence on this volume only makes it more of a headscratcher inclusion.
05. Desert Walk (3:00) from Chapter 1: Stranger in a Strange Land
It's been observed by some that the music in the flashbacks has had an exponentially greater effect in episode than what the present timeline offers, and these first few tracks are certainly a testament to that. With this cue, Boba and a fellow prisoner are taken into the desert to harvest melons. A fun statement of the Reborn theme emerges at 0:37, complete with mariachi-esque trumpets, vocals, and guitar strums and shimmers. Eerie strings and electronics provide a brief interlude, before a neat mixture of percussion and echoing effects close the track.
06. Boba's Throne (3:45) from Chapter 2: The Tribes of Tatooine
A slithery string line opens before Boba's distinct sounds join in with muted trumpets. The atmosphere becomes noisier, with very little of note until the Buccaneer theme flashes by over the title card at 2:35. Hints of the Jaunty Riff and the Desert Fanfare round out the cue.
07. The Twins (4:37) from Chapter 2: The Tribes of Tatooine
Intriguingly, there's a repeating diegetic drum throughout this track which seems to follow the Hutts around on their litter. Menacing muted trumpets and distorted vocals underscore the twins' appearance in the city square. An uplifting major-key variation on the Reborn theme starts at 2:59, with a smattering of vocals and effects closing the track.
08. Stop That Train (4:06) from Chapter 2: The Tribes of Tatooine
Deep strings, electronics, and percussion follow an impending threat through the desert as Boba's tribe scrambles to defend themselves from a speeding train. Some neat processed vocals join in at 0:55, with the mood then becoming more somber as Boba and company burn their dead. Soulful vocals chant beneath the solemn Reborn theme at 1:43. The track switches to another cue at 2:25 as Boba takes a pack of stolen speeders back to the tribe. The dynamic Buccaneer theme opens for a particularly upbeat statement of the "Main" theme, with energetic string and vocal accompaniments. The cue gradually plays down from there on.
09. Like a Bantha (2:02) from Chapter 2: The Tribes of Tatooine
This is one of the rare set pieces in the show that actually runs with a pretty good idea for a little while. Boba trains the Tuskens how to ride speeders as a malleable montage melody works beneath. The idea appears in one or two other scenes in the episode, although it remains rather brief despite being a clear highlight.
10. The Ultimate Boon (5:07) from Chapter 2: The Tribes of Tatooine
This second chapter seems to have been really good for strong music-driven stretches, and this track is the pinnacle of that. The entire ritual scene is handed over to Shirley, and he delivers his best work on the show thus far. It's perfectly measured and not overplayed, with expert implementation of Göransson's themes to signify some genuine character growth. Long and low vocals hum the Reborn theme at 0:10, returning at 0:53 over processed plucks and shimmers. An exotic wind sound bridges into a reverent choral rendition of the Tribe Fanfare at 1:44, which is then carried up by solo cello at 2:08. Boba emerges from the chief's tent with his new garments, the music maintaining the power and resonance with a controlled brass build-up. The piece then transitions into the next section, with serious strains of the Reborn theme following Boba to the desert workshop at 2:51. The melody changes shape and progresses further at 3:22, building in anticipation before the vocals join at 3:52. It is here that Shirley combines the Reborn theme and the Tribe Fanfare together to form a fully satisfying climax, with an emotional vocalic/wind effect tastefully tying the journey together at 4:35. The entire sequence is the closest the show has gotten to the heights of Mando, and Shirley's major contribution is certainly worthy of comparison to any of Göransson's narratively similar forging cues. Without a doubt, this is the best track on the album!
11. Aliit Ori’shya Tal’din (6:12) from Chapter 3: The Streets of Mos Espa
Organic breaths and sorrowful strings mark the beginning of another highlight passage as Boba begins his next set of flashbacks. A brass reference to the Reborn theme appears at 0:31, and vocals prepare the way for a travelling sequence at 0:49. The "Main" theme plays on strings atop the humming choir at 0:56, increasing in confidence and energy at 1:16 as Boba rides a bantha into town. A short interlude separates the B section, which is heard for the first time in the show proper at 1:50. The music settles under a cautious dialogue with the Pyke leader, and a slightly unsteady variation of the Reborn theme adds to the menacing tone at 3:16. The standout choral lament begins at 3:56 as Boba finds the tribe massacred. Fascinatingly, a Redditor supposedly translated the lyrics to what is perhaps the most explicitly religious-sounding piece of music in any Star Wars media. It's an unexpected attention to detail but very cool nonetheless!
12. Road Rage (4:56) from Chapter 3: The Streets of Mos Espa
After a string of surefire highlights, the album meanders back into decidedly mediocre territory. Peppy techno electronics and brass hits do well to compliment a goofy chase through the streets of Mos Espa, with passing appearances from the Jaunty Riff and the Desert Fanfare marking Boba's presence. The processed wailing and dangerous string lines from Stop That Train return fittingly as a group of Pykes land on Tatooine.
13. The Mod Parlour (3:04) from Chapter 4: The Gathering Storm
This wacky techno piece for the impromptu chop shop operation in Chapter 4 more than speaks for itself. I'm happy for anyone who enjoys it though!
14. Fennec and Boba (2:08) from Chapter 4: The Gathering Storm
Brass and vocals are initially prominent before giving way to a far sneakier setting, with passing references to some familiar Fennec-related material from Chapter 5 of Mando (the string idea at 0:22 and 0:52 should be familiar). Low-key pizzicato exercises accompany Fennec's spy droid at 1:13 and continue for the remainder of the cue.
15. You Fly, I'll Shoot (5:34) from Chapter 4: The Gathering Storm
Boba and Fennec attempt to reclaim his ship from Jabba's palace. A mishmash of electronics, breath sounds, and tense strings underscore a firefight in the hangar. The track notably manages to stay athematic until the bay door finally opens at 3:01, at which point full-bodied choir hums the Reborn theme at its most triumphant. Several more statements follow until the up-tempo Jaunty Riff interrupts at 4:09, ushering in the Desert Fanfare at 4:32 as Boba annihilates the biker gang from above.
16. The Families of Mos Espa (5:33) from Chapter 4: The Gathering Storm
The final score cue on the album is fairly standard dialogue music. The Jaunty Riff picks up the energy a little bit at 1:32, and an angular variation of the Desert Fanfare slides in at 2:44, returning beneath percussion at 4:12. The most ear-catching bit is, of course, the Recorder Riff cameo at 5:10, which intermingles with the earlier-mentioned "Western" motif. Perhaps this tease will help to open things up a bit and give the score some real legs through the final few chapters? For now we can only guess. All other impressions aside, there's plenty to potentially look forward to, as the finales have been far and away the best-scored episodes in these shows to this point. Fingers crossed!
It’s interesting to note that aside from Göransson’s themes (both new and old), there are essentially no other leitmotifs to track across episodes like there has been consistently with Mando. What's there is excellent and has certainly led to some elevated passages, no doubt about it, but the fact remains that the show's musical identity is defined by fairly limited thematic tissue, and there have been a number of occasions where the score in episode has noticeably lacked punch and fallen flat as a result. If anything, it's more of a textural approach than Mando ever was. As a result, the nature of the release as well as the music itself is not as easily tailored to an in-depth analysis as might have been anticipated, but I hope these notes prove useful to anyone who is enjoying the music and is trying to keep tabs on the fresh catalogue of themes. As always, I look forward to hearing what comes next. Thanks for reading and cheers!
@thx99 A friend made me notice that the hans-zimmer.com website has been updated with a complete list of cues for The King's Man and it shows the titles and slates of the two missing tracks:
- 2m14-15 Cost Of War (3:27)
- 5m39A Visit From King George - Time To Suit Up (4:16)
And it also contains a breakdown of the album assembly, which confirms that "Cost of War" has also been released in the OST in its unadultered form.
With this new information though I've attempted again to guess the link for the missing tracks and to my surprise, I was successful in finding "Cost of War"! I don't know how I didn't get it before (maybe the trick was using "of" and not "Of"? I don't know if that may be crucial), since I'm pretty sure I tried all possible combinations of slate numbers... but that's not important.
Here's the link to the first missing track! I noticed that it's shorter than indicated in the listing (2:23 instead of 3:27), but it's definitely not a duplicate of another track.
https://disneystudiosawards.com/media/soundtracks/The_Kings_Man_Matthew_Margeson__Dominic_Lewis__2m14-15_Cost_of_War.mp3
I've already attempted to guess the link for "5m39A Visit From King George - Time To Suit Up" but to no success sadly. What's worse is that the track is also absent from the OST according to the breakdown of the album assembly on the site.
I hope we're gonna get official slates for "The Last Duel" so that we can attempt to find the other missing track as well.
They can introduce the multiverse to the Star Wars franchise and say that the Sequel Trilogy happens on an alternate universe to The Mandalorian/BOBF/the other D+ shows.
They can even make a movie about that: "The Mandalorian in the Multiverse of Madness".
granted the notes are slightly different but the intent is the same, and the usage is almost identical
(for those don't know Shostakovich used this motif OBSESSIVELY (most notably string quartet 8 and Symphony 10) - the four notes spelled out his initials
I'm guessing someone at Sony Music clicked the wrong button somewhere and now they are selling a product on HDTracks they are not legally entitled to sell.
Rotj 1983 and anh 1997: tiny hands and 3 small pointy fingers.
tpm 1999: big hands with 4 big fingers
anh 2004 and beyond: same as TPM
TCW 2008: small hands with 4 small fingers
Book of Fett 2022: big hands with 3 pointy big fingers
more or less.
Its also funny how jabbas palace main door has returned to its original size after lucas’ enlargement in the blu ray edition
Just to be clear, it is not the way the dance was performed that was funny to me, rather how it was handled, first just a few of them dancing and then more and more joined in, in what I can only call a “Kumbaya” moment. To me, it didn’t really come naturally in the edit/story.
It was too much for me.
I s also thought the montage where Boba learned to stick fight was shoddily handled. I love a good montage as much as the next guy, but I found this to be slow and unengaging.
Also, Boba’s faux sign language/simplified English felt dumb to a point I can not explain. “Me stop train” and then pointing his hand towards his head up palm. Sigh. Who was this for - both the sign language and the broken English? For the audience? Or for the Tuskens? If the latter, what part did they understand? His made up sign language? I guess so, because if not then why not just speak English all the time? And if they didn’t understand English, why speak in that broken English at all?
Cringe.
I don’t have much criticism from a Star Wars point of view, more about how it’s directed I guess.
But I’d welcome a speculation about how they first started to write a script for this.
- ”OK, so let’s do the Boba Fett series! Any ideas for a story?”
- ”Hell yeah, let’s have him doing bounty hunting across the universe, taking impossible bounties and having cool adventures on strange new planets, and perhaps we could create a story about a moral conundrum about bounty hunting, maybe have him hunt for something he doesn’t want to hunt…”
- ”Um, we already did that…”
The second episode is better but I give the series another episode until I feel my time is more precious...
I'm glad more people are aware of Dean Cundey but when I saw the credits I felt sad because the cinematography was underwhelming. I don't know if it has something to do with the use of CGI but many scenes felt cheap. The backgrounds seem too static and the light fake, I know is just the desert, but they might need some wind, motion blur when the camera is moving, etc
But, anyway, my biggest problem with the show is the way they try to hook the fans including in Tosche station Camie and Laze, the reapear of Hutts... Seems that Star Wars is just a collection of winks for fans without making an effort in the story. Also, is curious how a 50 minutes episodes has 3 montages scenes: Boba learning to fight, the tuskens learning to ride the bikes and Boba making the stick.
As @rough cutI couldn't avoid laughing at the "part of the tribe" dance at the end...
DrTenma reacted to Indianagirl in Michael Giacchino's Rogue One: A Star Wars Story (2016) - 2022 Expanded Edition now available
DrTenma got a reaction from Edmilson in The Book of Boba Fett (Disney+ Series)