"Opar" Written & produced by Rupert Gregson-Williams & Lebo Morake Performed by Zoe Mthiyane
"Better Love (Film Version)" Written by Hozier Produced by Hozier & Rob Kirwan Performed by Hozier Engineered by Rob Kirwan Mixed by Mike Crossey Musicians: Vocals, Backing Vocals, Guitar, Synth, Organ: Hozier Piano, Rhodes, Bass: Alex Ryan Drums, Percussion: Rory Doyle String/Orchestral Arrangement: Alex Ryan Recorded at Westland Studio, Dublin & Exchequer Studio, Dublin
Conducted by James Seymour Brett Orchestra Leader: Perry Montague-Mason Orchestra Recorded at Abbey Road Studios, London
Recording Engineer: Sam Okell Pro-Tools Operator: Matt Mysko
Score Composed & Produced by Rupert Gregson-Williams
Additional Music & Programming by Thomas Farnon, Tony Clarke & Tom Howe Music Editors: Allan Jenkins & JJ George Music Production Services: Steven Kofsky Technical Score Engineer: James Roberson Orchestrated & Conducted by Alastair King Orchestral Contractor: Isobel Griffiths Score Recorded & Mixed by Nick Wollage Additional Score Mixing by Alan Meyerson Score Mix Assistants: Tom Bailey & Forest Christenson Concert Master & Violin: Thomas Bowes Ethnic Percussion: Paul Clarvis Additional Cello: Peter Gregson Vocals Produced by Lebo M Solo Vocals Performed by Zoe Mthiyane Solo Vocals Recorded by Johan Van Der Colff Choir: London Voices Choirmasters: Terry Edwards & Ben Parry Score Recorded at Lyndhurst Hall, Air Studios Music Preparation: Jill Streater ProTools Operator: Adam Miller Additional ProTools Editing by Andy Patterson Air Studios Studio Manager: Alison Burton Studio Manager for Remote Control Productions: Shalini Singh Score Mixed at Air Studios, London UK & Remote Control Productions, Santa Monica CA
Album Mastered by Gavin Lurssen at Lurssen Mastering
Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek Executive in Charge of WaterTower Music: Jason Linn Music Business Affairs Executive: Lisa Margolis, Dirk Hebert & Ray Gonzalez Art Direction: Sandeep Sriram
Rupert would like to thank: Emma Gregson-Williams, David Yates, David Barron, Hans Zimmer, Paul Broucek, Steve Kofsky, Tony Clarke, Tom Farnon, Tom Howe, James Roberson, JJ George, Nick Wollage
WaterTower Music Thanks: Peter Axelrad, Joseph Billé, Candace Carlo, Rocco Carrozza, Caroline Downey-Desmond, Esther Friedman, Kerrylyn Genetive, Joe Kara, Kevin Kertes, Kolette Kleber, Brian Lambert, Ny Lee, Genevieve Morris, Nigel McCorry, Niall Muckian, Jaimie Roberts, Christina Swintek, Eric Taylor, John F.X Walsh, Robert Zick
Release date : 06/24/2016
Opar - Zoe Mthiyane (3:28) Rupert Gregson-Williams, Lebo M.
Diamonds (4:50) Rupert Gregson-Williams
Togetherness (1:44) Rupert Gregson-Williams
Steamer And Butterfly (2:40) Rupert Gregson-Williams
Orphaned (2:46) Rupert Gregson-Williams, Tony Clarke
Returning Home (4:01) Rupert Gregson-Williams
Campfire (2:40) Rupert Gregson-Williams, Thomas Farnon
Tarzan And Jane (3:39) Rupert Gregson-Williams
Village Ambush (4:41) Rupert Gregson-Williams, Tom Howe
Catching The Train (2:16) Rupert Gregson-Williams, Tom Howe
Rom's Plan (2:11) Rupert Gregson-Williams, Tom Howe
Akut Fight (2:16) Rupert Gregson-Williams, Tony Clarke
Elephants In The Night (3:12) Rupert Gregson-Williams, Lebo M.
Jane Escapes (2:44) Rupert Gregson-Williams
Jungle Shooting (2:41) Rupert Gregson-Williams
Kala's Death (5:15) Rupert Gregson-Williams, Thomas Farnon
Where Was Your Honor? (2:29) Rupert Gregson-Williams, Thomas Farnon
Boma Port (4:04) Rupert Gregson-Williams
Stampede (4:33) Rupert Gregson-Williams, Thomas Farnon
On The Boat (3:10) Rupert Gregson-Williams
The Legend Of Tarzan (2:36) Rupert Gregson-Williams
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Really surprising to hear something so intense and epic from Rupert...I had basically given up on him since he got typecase into doing bland comedy scores, even though his early 2000s output (Jack & The Beanstalk, Bee Movie) showed tons of promise. Wish there were more composers writing music like this...people complain about the Zimmer sound taking over Hollywood but honestly there are only a handful of scores that sound like this every year. And this one is orchestral enough to please both sides I think!
Well there was a time many scores sounded like this.
But since Zimmer has evolved, Hollywood has evoled with it too. Every score now sounds like a Zimmer/Junkie simulation.
That's why this score sounds refreshing and a bit more old skool. After all this type of scores got me into film music years ago.