Music Arranged, Recorded, Produced & Mixed by Tom Holkenborg
Additional Music: Aljoscha Christenhuß Additional Music Programming: Gregory Reveret Score Technical Engineer: Stephen Perone Score Technical Consultant: Emad Borjian Score Production Coordinator: Michiel Groeneveld Conductor: Nick Glennie-Smith Concertmaster: Bruce Dukov Orchestra Contractor: Peter Rotter Copyist: Edward Trybek, Henri Wilkinson & Jonathan Beard Music Mixed at Computer Hell Paradise Orchestra Recorded by Alan Meyerson Orchestra Recorded at Newman Scoring Stage, Twentieth Century Fox Post Production Services Stage Engineer: Denis St. Amand Recordist: Tim Lauber Stage Managers: Tom Steel & David Marquette Album Mastered by Tom Holkenborg at Computer Hell Cabin
Music Supervisor: John Houlihan Executive in Charge of Music for Twentieth Century Fox: Danielle Diego Music Supervised for Twentieth Century Fox: Patrick Houlihan Music Production Supervised for Twentieth Century Fox: Rebecca Morellato Music Managed for Twentieth Century Fox: Areli Quirarte Business Affairs for Twentieth Century Fox: Tom Cavanaugh Music Clearance for Twentieth Century Fox: Ellen Ginsburg Soundtrack Coordination for Twentieth Century Fox: Joann Orgel Milan Records Soundtrack Executive Producer & Production Manager: Pablo Manyer
Tom would like to thank: Saskia & Julian Holkenborg, Joan Bierman, Ted Caplan, Julian Clarke, Michiel Groeneveld, John Houlihan, Patrick Houlihan, Alan Meyerson, Tim Miller, Peter Rotter, Nick Glennie-Smith & everyone at Fox Music
Thanks to: Todd Andrew, Michelle Belcher, Ron Briotman, Lauren Caruso, Matt Creem, Donna Dunbar, Bob Fukuyama, Megan Goldstein, Robert Kane, Robert Kelley, Simon Kinberg, Julia Kirkendall, Jeremy Kramer, Stan Lee, Bret Lewis, Paul Massey, Denny Mendez, Cathy Merenda, George Michael, Amos Newman, ALlison O'Donnell, Stephen Pielocik, Rhett Reese, Ryan Reynolds, Jessie Roberts, Sean Rosen, Aditya Sood, David Starke, Andy Stephens, Mason Storm, Jessica Weiner, Paul Wernick, Pat Woods & Noah Young
Release date : 03/04/2016
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If someone wants a chronological order (with the few added cues) :
SAME MISTAKES MAXIMUM EFFORT SMALL DISRUPTION TWELVE BULLETS MAN IN A RED SUIT LIAM NEESON NIGHTMARES FEAR THE T-REX THIS PLACE LOOKS SANITARY THE PUNCH BOWL BACK TO LIFE BECAUSE I WANT TO EVERY TIME I SEE HER EASY ANGEL SCRAP YARD WATERSHIP DOWN GOING COMMANDO LET’S TRY NOT TO KILL EACH OTHER STUPIDER WHEN YOU SAY IT FOUR OR FIVE MOMENTS A FACE I WOULD SIT ON
Imn not even sure why they bothered with just the three extra score tracks, when they are so filler
might as well give us the rest then
What's the film order with the VA songs that were actually used in the film?
also pretty sure Small Disruption goes before Maximum Effort
Nope, goes after
Angel Of The Morning - Juice Newton Same Mistakes Shoop - Salt-N-Peppa Maximum Effort Small Disruption Twelve Bullets Calendar Girl - Neil Sedaka Man In A Red Suit Liam Neeson Nightmares Fear the T-rex This Place Looks Sanitary Part 1 Mr. Sandman – The Chordettes This Place Looks Sanitary Part 2 The Punch Bowl Back To Life Deadpool Rap - Teamheadkick Nice to see you Jared Because I Want To Every Time I See Her Easy Angel Scrap Yard X Gon' Give It To Ya - DMX Watership Down Going Commando You’re The Inspiration – Chicago Let's Try To Kill Each Other Stupider When You Say It Four Or Five Moments A Face I Would Sit On Careless Whisper - WHAM
whoops left in a dummy title for one of the unreleased tracks (The Jared one) but you get the drift
A second CD will release on May: More Music from Deadpool:
1. Merc With A Mouth – Teamheadkick 2. Fear The T-Rex 3. Because I Want To 4. Mr. Sandman – The Chordettes 5. Same Mistakes 6. The Boys Are Back 7. Maximum Effort (Remix by Night Club) 8. Twelve Bullets (Remix by El Huervo) 9. You’re The Inspiration – Chicago 10. Deadpool Rap (Brown Pants EDM Mix) 11. Twelve Bullets (Remix by Kreng) 12. Deadpool Rap (Acoustic Version)
The expansion we've all been waiting desperately for!
Lol as if the initial CD wasn't boring enough.
Holkenborg should have pushed for a release of his Point Break score instead, which was more of the same but at least fun to listen at!
Okay it's been a few days and the score should be out in America too now, right? I saw the movie yesterday and I have to say that it is a very, very good movie. But... I have the tendency to say that if I had not listened to the score before I saw the movie, I would not have noticed the music that much. I mean, the non-score songs play very noticeable, but Junkies (action) cues are very fast paced due to the way the movie is edited. And while this fast-pacing works very well for the storytelling (lots of flashbacks and "wait, let's pause this for a minute"-moments), the music kind of suffers from this. I noticed this in the soundtrack, too... It just feels like the score can't get going. Every time the drums and synths kick in, it's over very quickly. That's such a shame because when you hear Junkies awesome cues, you don't want them to stop. And then, obviously, there is the underscore, which is, well, underscore... It sounds fine in the movie but you probably won't remember any of it. It would've been nice if there was a Deadpool-suite or something, because Junkie created some very nice themes for the character, but it feels like they can't express fully due to the movies tempo.
I had pretty much the same impression. It's not bad but it's not a satisfying listening experience.
Since the adverts thats all I keep hearing when I hear Deadpool....
Yeah well I just got through my first listen and I am kind of disappointed too... I feel like Maximum Effort and Twelve Bullets are the main two stand-out action tracks, but they're on the very short side and did not blow me away like Blood Bag, Brothers in Arms, Chapter Doof, The Bog, go on and on... Maybe Man in a Red Suit can be up there too, but honestly I did not hear a lot of memorable tracks first time round... Might change obviously, just my initial reaction. However, I would have preferred to have a lot more music from Junkie and less Tarantino-like 'soundtrack'. I mean, I don't know how the existing songs play out in the film as I haven't seen it yet, but I could have done without some of those songs. And I don't know if it's my headophones (I hope not :) ) but it sounds like the album is mastered too loud so sometimes there is clearly some distortion/clipping going on. Could be intentional but it kind of starts to bother me. I'm going to try some other sound systems to verify this.
Have to agree with you here. The action music, for the most part, is pretty fun when Junkie lets loose with the electronics (Maximum Effort, Twelve Bullets, Watership Down). I'll even say there are some genuinely pretty moments scattered throughout (Liam Neeson Nightmares, Face I would Sit On).
Unfortunately the biggest downfall of this soundtrack is a lot of the underscore. Junkie's strength definitely lies in his themes, but utilizing them is definitely not his strong suit. I would say half of the music functions well, while the rest kinda falls flat. And the biggest problem; the drums. The 80's style synth works amazing but is overshadowed by the Mad Max drums and strings.
Imo, JXL needs to leave his comfort zone and write for dramatic films. His string writing is some of the best out there, and his action music works when he doesn't fall into the same routine drums and pounding.
I wonder what sound Junkie is going to come up with for this. I'm hoping for something completely off the wall and unconventional.
Me too, although I'm not sure Junkie has that in him sadly...Mad Max called for that too, and what we got in the end was a pretty standard combination of MoS percussion, strings, electronica and electric guitar.
The funny thing is, it'll be out before Bat V Sup but was written after... :D
Junkie has some serious talent for action scoring. Brothers in arms was easily last year's most intense track. He is besides Hans the only one who can pull sth like that off so far.
It seems like it's the producers/directors who tend to keep asking for the same type of action drum music that he turns out.
Junkie has proven that he can write stirring string music, unfortunately his use of electronics always tends to fall short. Here's hoping that this and BvS can change that around.
He mentioned Deadpool in Fans of Film Music gathering and said he pushed very "left" for this one. So I guess this will be a very different score
This is pretty cool imo, I like the little "Beat It" motif.
For some reason it reminds me of Chappie lol
Having never seen Chappie or heard the soundtrack, I would say it would easily fit in "The Matrix: Path of Neo". Kind of reminds me of "The Key". I liked those pieces so it's nice to hear something that reminds me of it.
On that topic, was Junkie XL with RCP when he wrote for Path of Neo?
Damn... I don't like this. I wish Tom would step away from the pop music/edm genre. His work for Black Mass, Mad Max and even divergent (which has pop elements) was amazing. I shouldn't judge the score by this sample but this doesn't do it for me... Let's hope he delivers a great batman theme:)
Since most of his career has been precisely in the electronic genre, I guess it's normal some directors hire him because they want an electronic score :-p
I can't say I really loved it or that it's the sort of thing I'll listen to a lot, but I will say that this sort of music feels like a much more natural fit for Junkie than that Man of Steel/Mad Max modern action music stale percussion drumming hell that we've heard from him so many times already. This allows his more colorful electronica side to come to the forefront and the textures are much more interesting than just BAM BAM BAM BAM BAM BA-BA-BA-BA BAM BAM BAM BAM.