"Smells Like Teen Spirit" Written by Krist Novoselic, David Grohl & Kurt Donald Cobain Produced by John Powell, Dario Marianelli & Matthew Margeson Performed by Cast from Pan
"Blitzkrieg Bop" Written by John Cummings, Douglas Colvin, Thomas Erdelyi & Jeffrey Hyman Produced by John Powell, Dario Marianelli & Matthew Margeson Performed by Cast from Pan
"Somthing's Not Right" Written by Lily Allen & Tim Rice-Oxley Produced by John Powell & Matthew Margeson Performed by Lily Allen
"Little Soldier" Written by Lily Allen & Tim Rice-Oxley Produced by Karma Kid & Tim Rice-Oxley Performed by Lily Allen
Score Composed & Produced by John Powell
Additional Song Production & Arrangements: Matthew Margeson Additional Music, Arranging, & Midi Orchestration by Anthony Willis, Batu Sener & Paul Mounsey Music Editor: Tom Carlson Orchestra Conducted by Gavin Greenaway Score Recorded by Nick Wollage Score Mixed by Shawn Murphy Supervising Orchestrator: John Ashton Thomas Orchestrations by Andrew Kinney, Jon Kull, Mark Graham, Rick Giovinazzo & Tommy Laurence Orchestra Contractor: Isobel Griffiths Assistant Orchestra Contractor: Lucy Whalley Music Preparation: Mark Graham for JoAnne Kane Music Services Librarian: Dave Hage for Dakota Music Score Recorded at Air Studios, London
Score Mixed at 5 Cat Studio, Los Angeles
Assistant Mix Engineer & Additional Song / Score Remixes by John Traunwieser Digital Score Editor: David Channing Pro Tools Operators: Adam Miller, Chris Barrett & Erik Swanson Additional Recording & Song Mixes by Rupert Coulson Composer Max Tools: John Crooks Score Coordinator: Beckey Bentham Film Music Clearances: Karen Elliott Album Mastered by Patricia Sullivan at Bernie Grundman Mastering
Balkan Ensemblre: The Balkanatics Accordion: Petro Dewshi Saxophone: Ian East Trumpets: Shanti Jayasinha, Chris Batchelor & Igor Gudjalov Horn: Philip Eastop Euphonium: Dave Whitehouse Tuba: David Powell Percussion: Rastko Rasic & Guy Schalom
Adult Choir: Metro Voices Choir Choirmaster: Jenny O'Grady Children's Choir: Capitol Children's Choir Choirmaster: Rachel Santesso Solo Vocalists: Dee Lewis Clay, Kamille Rudisill & Kelly Adams Los Angeles Vocal Contractor: Edie Lehmann Boddicker
Executive Album Producer: Joe Wright Executives in Charge of Music for Warner Bros. Pictures: Darren Higman & Amanda Narkis Executive in Charge of WaterTower Music: Jason Linn Music Business Affairs Executives: Lisa Margolis & Ray Gonzalez Album Music Clearances: John F.X. Walsh
John Powell Thanks: Joe Wright, Tim Lewis, Greg Berlanti, Sarah Schechter, Paul Webster, Lily Allen, Karen Elliott, Becky Bentham, Paul Broucek, Darren Higman, Amanda Narkis, Jason Linn, Sandeep Sriram, Kari Miazek, Tom Carlson, Jason Ruder, Shawn Murphy, Alison Burton, Nick Wollage, Rupert Coulson, Gavin Greenaway, Laura Engel & Richard Kraft
Dedicated to Melinda Lerner & Oliver Powell
Thanks to: Peter Axelrad, Maria Belli, Paul Broucek, Rocco Carrozza, Wendy Christiansen, Laura Engel, Andrew Fischel, Kerrylyn Genetive, Wendy Griffiths, Tim Grover, Joe Kara, Kathy Kelly, Kevin Kertes, Kolette Kleber, Ny Lee, Charlie Light, Michael Meisel, Kari Miazek, Lori Miyakawa, Genevieve Morris, Jon Polk, Elena Reyter, Marlene Seki, Olly Sheppard, Christy Swintek, Bobby Thornburg, Paul Tothill, Courtenay Valenti, Raymond Walden, Pat Woods & Robert Zick
Release date : 10/02/2015
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I assume Dario Marionelli wrote those two songs he's credited for?
Margeson arranged them. He started working with Dario, then JP took over scoring. Matthew worked on many songs that didn't all end up in the film.
Well, I can't pretend it doesn't hurt a tiny bit to see that my favorite cue of 2015 ("A Boy Who Could Fly") isn't by Powell and Powell alone. But at the same time, I was kind of afraid it would be much worse considering time was probably pretty short on this score. If you look at it that way it's quite impressive just how little help Powell gets. And I imagine an additional composer on a Powell score is much closer to being just an orchestrator/arranger than, say, an additional composer on a Zimmer score (but that could just be my bias shining through...).
Hybrid, do you have details for any other Powell scores since 2010? Other than KFP2 (and Ice Age 4 now since you put up the complete score page) we know hardly anything about that period of his career.
Yes it's pretty much detailed, I'm catching up with all this, takes quite some time to handle each score lol...
What awful news. If she's been ill for a while (and it kind of sounds like it), that would put his comments recently about "spending more time with my son/family" in a very different light indeed.
Sad news. My thoughts go to John & his son.
I read the post 1 hour ago. I don't know if this is true, but it is, so sad. My condolences to John and his entire family.
It is, unfortunately, true...
Very sad news. She took a picture for me with John Powell at the Pandamonium event in Northampton uk. She even passed my her Chinese hat to put on for the picture in which John gave her a very unimpressed (in a playful way) look. She was Very chirpy and smiley. My thoughts go to him his son and the family.
This is so sad!! John and Oliver are in my Prayers.
I felt like the Album started out a little bit slow, but by the time I got to track 16 (A Warrior's Fate), I was obsessed. I love the complexity of John Powell's music. John Powell, Howard Shore, and John Williams are the only composers I can listen to over and over without getting bored. I listened to the How to train your Dragon 2 Soundtrack every other day for a whole year after it came out and I never got sick of it.
Powell Lover #1
I so agree
Tracks 16-18 are, in my opinion, the best chunk of film music anybody wrote in 2015 (including John Williams). I've played those three tracks over and over again like nothing else. I agree the rest of the score doesn't quite hold up to it but there are some gems in there, I like the unique flair in "Kidnapped/Galleon Dog Fight" for example.
I agree, these 3 tracks (plus "Kidnapped - Galleon Dog Fight") are incredible. It's funny, "Pan", "The Martian" and "Steve Jobs" all came out pretty much at the same time and are probably my 3 favorite scores of 2015, still listen to those frequently.
I remember when I saw the trailer for Pan, and I said to my sister, 'boy, wouldn't it be great if John Powell could do the Soundtrack for that?' So I checked on Wikipedia, and it said someone else was doing it. A week later, while looking for John Powell Soundtracks on Amazon, i see Pan listed. I almost flipped. I bought the Soundtrack the day it came out and loved every second of it. My favorite theme is the Fairy Kingdom Theme heard in 'A Warriors Fate'
An excellent score indeed! A little chaotic and "overstuffed" at times, but I'll always take a score that's too complicated over one that's too simplistic, and I just love how much stuff Powell throws at you. "Flying Ship Fight" and "A Boy Who Could Fly" are some of the best action music of the year.
I agree. You don't find such scores a lot anymore these days.
I has it all: epic, fun, chaotic, quiet, bombastic, cover song gone cinematic, great diverse instrumentation, themes, ...
Aaaah. I am getting nostalgic here. How I miss the early 2000s.
This one can join my 'Best adventure score' playlist joining the likes of How To Train Your Dragon, Lair, Outcast, Killzone 2, Cutthroat Island, Castlevania: Lords of Shadow, LOTR, Hobbit, ...
The more I listen to this one the more I like it. Powell always puts so much into his scores that you have to go over it multiple times and you'll still be catching things you didn't notice before. I think "A Boy Who Could Fly" might be my favorite cue of the year, period. Although if there was a longer version of "Neverland Ahoy!", I'd say that. Those 40 seconds between 1:15 and 1:55 are so beautiful, and so short... :/
Agree with Edmund, I listened only once and it was pretty heavy to digest... I will see the movie when it is released and then give the score a few more chances to grow on me. And I m 100% sure it will, in Powell I trust!!
I just saw the movie and now I am forced to recognize that this is an absolutely exquisite score. A pleasure from start to finish. Combined with Joe Wright's masterful visuals, it felt like heaven. Powell and Wright are amongst the most talented artists working in Hollywood, it's a shame the movie flopped so hard, it felt refreshing in so many ways. But yeah, probably too artsy for kids, too crazy for cynic grown ups... Sad, but at least it got made! :-)
I'm on the fence about whether to see the movie or not. It looks like a bit of a mess and hasn't gotten great reviews, but I want to support Powell and any big adventure movie in general that feels a bit different, which this does. I can kind of see it falling into the same category of unsuccessful adventure movies that didn't deserve to do as badly as they did and which have great scores, along with Lone Ranger and John Carter. Do you recommend it, Ds?
Also, I'm curious to know whether there is much score in the movie that didn't make the album. With an 111-minute running time and 60 minutes of score (plus ten or so of songs), it feels as though there could be...
Edmund, I didn't know the album release well enough to detect unreleased material in the movie. I think the main cues are all there, all the best moments I noticed during the movie are definitely present. In particular, "Flying Ship Fight" and "A Boy Who Could Fly" are masterfully used in the movie. Also, the music playing all over the end credits piece is utterly fantastic, and I think that one is not on the album (but I may be wrong).
I would definitely recommend it, yeah. It's a big, generous adventure movie. It's like a kid's dream, it's crazy and all over the place but it feels fresh, natural. It felt like the labour of authentic artists, rather than producers trying to get easy cash.
If you like Joe Wright's visual marvels, go see it because his signature style is all over the film. Every scene is wonderfully shot, a delight for the eyes. If you like John Powell's music (I know you do), go see it because his score is prominent throughout the whole movie and sounds amazing in a theatre. If you like adventure movies with a big heart, which require a lack of cynicism from their audience, go see it. If you're more attracted by modern sci-fi or superhero movies, maybe you should avoid it.
Ooh. I'm curious now about that end credits piece. I feel like the one thing missing from the Pan score is a cue that really just lets the themes breathe - was it anything like that? If so, it's criminal they left it off the album (who needs Lily Allen anyway?).
Maybe I really will go see this, after The Martian.