Ludwig Göransson & Joseph Shirley's THE BOOK OF BOBA FETT (2021)

[JNHFan2000 2,939]

3 hours ago, Jay said:

Oh, absolutely!  I love a ton of the music on this album!  I just am already over enjoying the album as a whole after 2 listens.  A shorter playlist will be enjoyed by me very much

 

And I am still very much looking forward to hearing the score in the final 3 episodes, and then its OST album!

 

Also: The main theme is a total earworm, I have it running through my head right now!

The main theme is amazing.

I'm really trying to figure out which I love more: Mando's or Boba's theme.

 

The recorder in the Mando theme is great and has great build up throughout the theme.

Boba's theme has those insanely cool vocals which I loce so much.

 

For me it's though one. Both are terrific

[Jay 37,249]

Mando easily for me

 

That's one of the best themes of all the 2010s

[Jay 37,249]

I found the train heist cut on youtube

 

Sound effects obviously, but no dialogue

 

 

[artus_grayboot 77]

Any ideas on the connection of the Book of Boba theme note wise with the Boba motif in Empire Strikes Back? I think there's a connection there, but I wanted to hear what you all think... perhaps someone better at transcribing can give a crack at it. What's funny is that there are two Boba themes in Empire, and two Boba themes in Book of Boba (I'd say the bouncy one more represents Fennec and Boba together).

[Manakin Skywalker 4,889]

12 hours ago, Jay said:

I found the train heist cut on youtube

 

Sound effects obviously, but no dialogue

 

 

 

The rear channels are a lot more clean in comparison, but unfortunately with all the percussive/synth stuff muted.

[Holko 9,491]

31 minutes ago, Manakin Skywalker said:

 

The rear channels are a lot more clean in comparison, but unfortunately with all the percussive/synth stuff muted.

Online AI-powered stem separators are getting pretty good, I'm using them for some boots, maybe they could help? Though percussionwise my main use is that it often mistakes SFX for percussion and removes them...

[Jay 37,249]

Huh. Tell me more about this! 

[Faleel 5,326]

35 minutes ago, Jay said:

Huh. Tell me more about this! 

There are programs that can seperate certain instruments to create stems

 

For example izotope RX8 can seperate into:

 

Drums/Percussion

Vocals

Bass

Other (guitars, orchestra etc.)

[Manakin Skywalker 4,889]

That sounds... interesting. But I bet the results sound as good as AI-generated images look. 

 

[Faleel 5,326]

 

[The Illustrious Jerry 3,356]

 

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!

[Holko 9,491]

11 minutes ago, Manakin Skywalker said:

That sounds... interesting. But I bet the results sound as good as AI-generated images look. 

 

I'm using https://x-minus.pro/ai atm and I'm impressed enough that I'm paying them for full use like more options and lossless files.

[Manakin Skywalker 4,889]

32 minutes ago, Holko said:

I'm using https://x-minus.pro/ai atm and I'm impressed enough that I'm paying them for full use like more options and lossless files.

 

Fascinating... I tried it on Battle of the Heroes, and while certainly not perfect, it worked a lot better than I had anticipated!

[enderdrag64 624]

1 hour ago, Holko said:

I'm using https://x-minus.pro/ai atm and I'm impressed enough that I'm paying them for full use like more options and lossless files.

There are other similar tools that are free/open-source on github. 

 

I haven't used any of them myself but I know this one (https://github.com/Anjok07/ultimatevocalremovergui) has generated pretty good results before.

 

Example:

Spoiler

 

album track with lyrics added (lyrics begin at 1:06):

 

 

same track with lyrics removed using said tool :

 

 

 

[Jay 37,249]

Thanks for that breakdown Jerry, I enjoyed reading it! 

 

I look forward to playing the album again while following along with what you wrote 

[Smudger9 1]

1 hour ago, The Illustrious Jerry said:

 

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)

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)

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)

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)

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)

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)

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 at 2:35. Hints of the Jaunty Riff and the Desert Fanfare round out the cue. 

 

07. The Twins (4:37)

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)

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)

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)

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)

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)

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)

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)

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)
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)

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!

Thank you so much for that. I really enjoy reading your breakdowns. 

[The Illustrious Jerry 3,356]

2 hours ago, Smudger9 said:

Thank you so much for that. I really enjoy reading your breakdowns. 

 

By all means, thank you very much for reading and welcome to the forum! 

[DrTenma 116]

Thanks to @The Illustrious Jerry I can name the only bit of this score that I genuinely liked: The Jaunty Riff at You Fly, I'll Shoot. 

[Jay 37,249]

Did I miss a breakdown/list of which OST tracks come from which episodes?

[Disco Stu 15,495]

Jerry posted his giant breakdown on Saturday.

[Jay 37,249]

I know, but that post does not say which tracks come from which episode.

[Holko 9,491]

On 19/01/2022 at 10:40 PM, The Illustrious Jerry said:

A number of track titles for the upcoming album release have been identified via AHA Song Finder. Here's what the extension was able to pick up on so far:

 

CHAPTER 1

Rebirth - The flashback prologue, up until Boba escapes from the sarlacc. 

The Stranger - Boba is picked up by the sand people and the first title card appears.

Normal Day at the Office - Boba suits up for the first time and visitors pay tribute to him.

Fear Is a Sure Bet - Assassins ambush Boba and Fennec.

Desert Walk - Boba and another prisoner are taken into the desert to search for those sand melons.

 

CHAPTER 2

The Twins - The two hutts confront Boba in the town square.

Stop That Train - The train attacks the Tuskens and they burn their dead.

Like a Bantha - Boba trains the sand people to ride speeders.

The Ultimate Boon - Boba gets his new clothes and makes his staff.

 

CHAPTER 3 

Aliit Ori'shya Tal'din - Boba journeys across the desert on a bantha, visits the Pykes, and returns to find the tribe massacred. 

Road Rage – The major-domo attempts to escape and the Pykes arrive on Tatooine.

 

CHAPTER 4

The Mod Parlour - A weird techno source/score cue for the chop shop where Fennec is healed.

Fennec and Boba - The pair travel to Jabba's palace. That little spy droid locates Boba's ship.

You Fly, I’ll Shoot - Boba and Fennec get his ship back from Jabba's palace. 

The Families of Mos Espa - I don't know what the rest of this cue could be but this is the title I got for the big hint at the end of this episode.

 

The only thing I'm worried about is the train heist cue from Chapter 2. I haven't been getting any results for it, although there are a lot of SFX in the way. Otherwise everything of note seems to be covered here.

 

I haven't had any luck with Shazam thus far but if it does pick up anything we might be able to see if there's more based on the track IDs. I'm not really sure how that works but I think that's what we did last year.

 

[Jay 37,249]

Ah there it is, thanks!

Wait, that doesn't say which episode "Boba's Throne" is from

[Disco Stu 15,495]

2 minutes ago, Jay said:

I know, but that post does not say which tracks come from which episode.

 

I guess not specifically, but it can be easily inferred from his descriptions!

[Jay 37,249]

It obviously can't, though, or I wouldn't have asked!

[Disco Stu 15,495]

1 minute ago, Jay said:

 

Wait, that doesn't say which episode "Boba's Throne" is from

 

I think Jerry just edited in the episode titles to his giant breakdown.  Thanks Jer!

 

On 22/01/2022 at 4:04 PM, The Illustrious Jerry said:

06. Boba's Throne (3:45) from Chapter 2: The Tribes of Tatooine

 

[The Illustrious Jerry 3,356]

@Jay I've just updated the long post to include that information. I had posted it earlier when the track titles were coming in, but it's all together there now for anyone interested.

 

My initial post about the early track titles didn't include Boba's Throne because the music that I fed into the extension gave me a result that was a fan cover on YouTube, and I wasn't sure if it was a mistake or not. In the end it was actually on the album, but I didn't know that at the time. Sorry for any confusion!

[Jay 37,249]

Thanks Jerry, that's a nice addition!

 

OK, so the end of "Boba's Throne" is the Chapter 2 title card music, yes?

 

 

Meaning the OST album gives us Chapter 1 and 2's title card music, but not 3 and 4's?

 

I so wish we had just gotten individual episode albums instead of this thing...

[Tallguy 3,359]

I'm really enjoying this. It's holding my attention as an album better than any of the Mando releases did.

[The Illustrious Jerry 3,356]

Wow, this latest chapter was definitely the best episode of the show yet, and mostly because it's not really an episode of *this* show to begin with! It's certainly refreshing to see something this expansive and well-directed after four episodes of drab compositions, cheap production design, and small-looking desert sets. The difference is night and day, and reinforces that Mando is already the best version of a show about a bounty hunter with cool armour. 

 

What's more is the music really bloomed in this episode, with Shirley making the most of Goransson's catalogue of Mando themes in some really interesting ways! I will admit there were a number of excerpts that were a little more brief than I would have liked, but I'm already anticipating hearing some of the highlights in a couple of weeks. Plus, it seems there's plenty more in store!

 

It'll be strange to see if any of these cues even gel well together with Volume 1, because there's not a lot that connects the two soundscapes here. Considering this episode may as well be the premiere of Mando Season 3, it could serve better as a little prologue to whatever we get to hear a year from now.

 

In any case, here's what I heard in this latest chapter...

 

 

The Fishery - Lots of electronic underscoring to start things off, building up to Mando's dissonant stinger and continuing to build the atmosphere thereafter.

 

Space Ring - A fantastic mash-up of the Boba Fett and Mando title cards gives way to some excellent wide shots of the space station. Fantastic strings and winds variation of the Fanfare from Mando.

 

Club Source - Upbeat electronic/hip-hop source music. Nothing mentionable.

 

Finding the Armorer - Low-key electronics and beats, followed by several Mando ideas in quick succession ("Western" motif, fluttering synth, Drama theme). Shades of some of the armorer cues from the first season of Mando.

 

The Great Purge - Full orchestra for this cool flashback sequence. The Rhodes motif plays for a Grogu namedrop. The Forge motif shows up briefly before the Rhodes returns.

 

The Duel - Two parts, the first being some eerie recorder music and the second being some loose electronics under the actual fight between Mando and the other covert guy.

 

This is the Way / Remove Your Weapons - More references to the armorer cues, as well as quotes of the Recorder Riff and the Fanfare. The second half of the cue is lighter comedy scoring as Mando deals with the transport security droid.

 

Public Space Transport - Tender harp and strings followed by soulful processed recorder. This bit is most likely tracked from Mando S2's The Story, which is referencing Mando S1's You Are a Mandalorian to begin with.

 

Back to Pelli Motto - More comedy music for everyone's favourite mechanic and her droids. Also a small reference to Mando S1's Bright Eyes.

 

The Naboo Starfighter - More light music as the cover is taken off the rusty old ship.

 

Repair Montage - A great extended sequence full of cool passing references to Mando themes, including a triumphant stringy Recorder Riff, the Fanfare for cellos, and some happy bits of Grogu's theme (EDIT: Not Grogu's theme, but the closing notes of the Fanfare).

 

Let's See What She's Got - Major key Recorder Riff for strings as well as an energetic variation of the Razor Crest fanfare. 

 

Fennec Recruits Mando - The soundscape briefly returns to Boba's world at the end, with a quote of the Desert Fanfare appearing before the episode closes. Mando's last line, however, indicates that we may not have heard the last of some other familiar themes. Really curious to see (and hear!) where this all goes now!

[JNHFan2000 2,939]

3 hours ago, The Illustrious Jerry said:

I'll leave all of my thoughts on this one in spoiler brackets for a day or two.

 

  Hide contents

Wow, this latest chapter was definitely the best episode of the show yet, and mostly because it's not really an episode of *this* show to begin with! It's certainly refreshing to see something this expansive and well-directed after four episodes of drab compositions, cheap production design, and small-looking desert sets. The difference is night and day, and reinforces that Mando is already the best version of a show about a bounty hunter with cool armour. 

 

What's more is the music really bloomed in this episode, with Shirley making the most of Goransson's catalogue of Mando themes in some really interesting ways! I will admit there were a number of excerpts that were a little more brief than I would have liked, but I'm already anticipating hearing some of the highlights in a couple of weeks. Plus, it seems there's plenty more in store!

 

It'll be strange to see if any of these cues even gel well together with Volume 1, because there's not a lot that connects the two soundscapes here. Considering this episode may as well be the premiere of Mando Season 3, it could serve better as a little prologue to whatever we get to hear a year from now.

 

In any case, here's what I heard in this latest chapter...

 

 

The Fishery - Lots of electronic underscoring to start things off, building up to Mando's dissonant stinger and continuing to build the atmosphere thereafter.

 

Space Ring - A fantastic mash-up of the Boba Fett and Mando title cards gives way to some excellent wide shots of the space station. Fantastic strings and winds variation of the Fanfare from Mando.

 

Club Source - Upbeat electronic/hip-hop source music. Nothing mentionable.

 

Finding the Armorer - Low-key electronics and beats, followed by several Mando ideas in quick succession ("Western" motif, fluttering synth, Drama theme). Shades of some of the armorer cues from the first season of Mando.

 

The Great Purge - Full orchestra for this cool flashback sequence. The Rhodes motif plays for a Grogu namedrop. The Forge motif shows up briefly before the Rhodes returns.

 

The Duel - Two parts, the first being some eerie recorder music and the second being some loose electronics under the actual fight between Mando and the other covert guy.

 

This is the Way / Remove Your Weapons - More references to the armorer cues, as well as quotes of the Recorder Riff and the Fanfare. The second half of the cue is lighter comedy scoring as Mando deals with the transport security droid.

 

Public Space Transport - Tender harp and strings followed by soulful processed recorder. This bit is most likely tracked from Mando S2's The Story, which is referencing Mando S1's You Are a Mandalorian to begin with.

 

Back to Pelli Motto - More comedy music for everyone's favourite mechanic and her droids. Also a small reference to Mando S1's Bright Eyes.

 

The Naboo Starfighter - More light music as the cover is taken off the rusty old ship.

 

Repair Montage - A great extended sequence full of cool passing references to Mando themes, including a triumphant stringy Recorder Riff, the Fanfare for cellos, and some happy bits of Grogu's theme.

 

Let's See What She's Got - Major key Recorder Riff for strings as well as an energetic variation of the Razor Crest fanfare. 

 

Fennec Recruits Mando - The soundscape briefly returns to Boba's world at the end, with a quote of the Desert Fanfare appearing before the episode closes. Mando's last line, however, indicates that we may not have heard the last of some other familiar themes. Really curious to see (and hear!) where this all goes now!

The title card music with Boba Fett's & Mando's themes together was phenomanol!

 

I hope the Mandalore flashback scene, the montage scene and the flying scene are on the album. Great stuff

[artus_grayboot 77]

Random, but I do think that the Boba theme by JW is in the new theme if you listen closely. This is the spark notes of this, but Boba has a motif in ESB that "develops" into the theme we all think of when we think Boba Fett in ESB. I chose a Book of Boba cue that seems to feature the motif the closest to the Imperial March, as the Boba theme and Imperial March are somewhat linked in ESB harmonically.
 

Playing the ESB theme on piano, I get G... G Gb G Gb G, Gb A#
 

Book of Boba opening statement, I get A# A A# A A#... A# A A# C A# A
 

Theme after opening statement: A#... A A#, A# A G, A A# C D
 

So the intervals are in there and are the same, just the sequence/way they are presented are a little different! Different key too it seems.

https://open.spotify.com/track/3SJalt7jrTvWnaps4CZp8h?si=57f56062af2a432d - Departure of Boba Fett
https://open.spotify.com/track/3MBrsOZIkzu5W2MCIPZmoF?si=dd2fd1d614da469a - Aliit Ori'shya Tal'din

[Joni Wiljami 1,206]

.

[A. A. Ron 1,736]

Well that’s certainly a hot take.

[Datameister 2,034]

I really hated it on first lesson. It's grown on me some, but nowhere near as much as the Mando end titles. I started lukewarm on those and rapidly came to love 'em.

[Tallguy 3,359]

Good heavens. The first episode when the end titles played it just gave me the biggest grin.

[Not Mr. Big 4,639]

The end titles is the only music I've really been compelled to check out away from the show

[Jay 37,249]

There was some really cool music in episode 6! 

 

Spoiler

Shirley did a nice arrangement of William's Force Theme, and I really liked the places he took Grogru's theme for his training!

 

[JNHFan2000 2,939]

3 hours ago, Jay said:

There was some really cool music in episode 6! 

 

  Reveal hidden contents

Shirley did a nice arrangement of William's Force Theme, and I really liked the places he took Grogru's theme for his training!

 

Spoiler

The scene with Grogu's flashback also had great music. Very much in the vein of the Order 66 music

 

[Jay 37,249]

Oh yea that one was good too - as was the Thousand Tears flashback from last week!

[rheaton 6]

Is it just me, or is there a little too much Harry Potter lighthearted nonsense in Joseph Shirley’s arrangements for this show?

[Faleel 5,326]

Its just you.

[The Illustrious Jerry 3,356]

Here's what I heard this week...

 

 

Pykes in the Desert - Short bit of underscore with some strings and light percussion.

 

Marshall Vanth - The speederbiking melody from Mando S2's The Marshal's Tale returns for acoustic guitar and strings, and is followed by a particularly upbeat and percussive title card.

 

Mando Arrives - Really nice string and wind harmonies, with some playful athematic ideas being passed around. Sounds a little Return of the Jedi-y to me for some reason. Followed by what must be a new recording of the soulful recorder from Mando S1's You Are a Mandalorian. 

 

Frogs - Short cue made up of Grogu's synth stylings.

 

Luke and the Force - Starts with a neat allusion to Mando S2's A Friend  and continues for a while longer to include Yoda's theme, the Child's theme from S1, and a dramatic orchestral section for the Order 66 flashback. The Child's mysterious theme from S1 has a brief interplay with the Rhodes motif to close.

 

I Wanna See Him - Lots of passing themes and textures, including harp and recorders, the Mando and Child motif, and the Child's theme from S1 again. 

 

Training Montage - An extended setpiece for Luke and Grogu's various exercises, clocking in at about 6 or 7 minutes and proving to be a surefire pick for Volume 2. Upbeat and energetic quotes of the Mando and Child motif play over string rushes, with the occasional piano accent. The Force theme is heard briefly, before returning to the Mando and Child motif, the joyous Grogu theme, soulful recorder, and more references to A Friend (in that order).

 

To Tatooine - We return to Boba's world and the Desert Fanfare is heard on strings before dialogue takes over.

 

Asking a Favour - Brief reference to The Marshal's Tale on acoustic guitar again.

 

The Standoff - Mostly atmospheric with some slow string hints of The Marshal's Tale. The score doesn't have to do much to build the tension here and it doesn't overplay its hand at all.

 

Another Cantina Source - More processed and electronic than the Latin twist heard earlier in the show. Seems this cantina band is fluent in a wide variety of genres, although none quite as ear-catching as jizz. 

 

A Choice - Yet another reference to A Friend, as well as Yoda's theme under a namedrop. The Mando and Child motif is most prominent, including one variation for solo violin. The music rises for the cliffhanger ending.

[Knight of Ren 775]

Last episode had some great music that I hope is featured on Volume 2!

 

Spoiler

Especially the variations of A Friend , which now seems to represent Luke in this series, as well as Yoda's Theme and The Force Theme.

 

And obviosuly, Shirley did some great variations on the material relating to Mando and The Child, which I hope get also released

 

So far, Volume 2 looks like it will be much more interesting, at least in terms of variety and thematic development, which was a bit of a problem on the first volume, since was too focused on just Boba Material, which is great, but ended up being a bit repetitive.

[Jay 37,249]

Huh, I somehow didn't even notice Yoda's Theme when watching the episode, just the Force theme.  Well now I want to hear the OST album even more!

[JNHFan2000 2,939]

7 hours ago, Jay said:

Huh, I somehow didn't even notice Yoda's Theme when watching the episode, just the Force theme.  Well now I want to hear the OST album even more!

It's qouted 2 or 3 times I believe

[crumbs 14,287]

I really liked that Order 66 flashback cue! The LA orchestra sounded fantastic there, very much like the prequel brass.

 

And I don't know how anyone missed Yoda's Theme, it was so obvious!

[Positivatee 327]

I missed it. 

[Jay 37,249]

The first time I watch a piece of media, I'm just taking the whole thing in and enjoying it, not analyzing the musical themes 

[Tallguy 3,359]

I sheepishly confess that I'll have that "How can anyone miss" attitude. (The SECRET John Williams theme in the Vader finale of Rogue One. ARE YOU KIDDING ME?!?) But then someone will point out something "obvious" that I was oblivious to. I apologize for me and my kind.