"What The World Needs Now Is Love" Performed by Missi Hale Written by Burt Bacharach & Hal David Produced by Hans Zimmer
Music by Hans Zimmer & Steve Mazzaro
Album Produced by Hans Zimmer & Steve Mazzaro Executive in Charge of Music for DreamWorks Animation: Sunny Park Additional Music by Conrad Pope Score Wrangler: Bob Badami Music Editor: Shannon Erbe Score Recorded by Geoff Foster Score Mixed by Nathaniel Kunkel Orchestrations by Oscar Senen & Joan Martorell Music Production Services: Steven Kofsky Score Production Supervisor: Charlene Ann Huang Score Technical Consultant: Chuck Choi Score Technical Engineer: Stephanie McNally Score Recorded at Air Studios, London
Score Recordists: Laurence Anslow & Tom Bailey Score Editor: Adam Miller Additional Recordings at Remote Control Productions, Santa Monica & Groove Masters, Santa Monica
Additional Recordings by Nathaniel Kunkel & Seth Waldmann Score Overdubs Recorded by Rupert Coulson Score Overdubs Supervised by Matt Dunkley Score Mixed at Remote Control Productions, Santa Monica
Score Assistant Engineers: Alex Ferguson, John Prestage & Tom Leach Score Overdub Assistant Engineers: Alfredo Pasquel for Remote Control Productions & Kevin Smith for Groove Masters Score Mix Assistant Engineer: Alfredo Pasquel Score Technical Assistant: Derrick Werlé Digital Instrument Design: Mark Wherry Sampling Team: Taurees Habib, Raul Vega & Drew Jordan Studio Managers: Shalini Singh for Remote Control Productions, Alison Burton for Air Studios & Eric Lynn for Groove Masters Music Manager: Tori Fillat Music Coordinator: Sebastien Christie Executive Assistant to Hans Zimmer: Cynthia Park Music Clearances: Julie Butchko Music Business Affairs: Kevin Breen, Philip Cohen & Emily Morchower Music Consultant: Peter Asher
Album Mixed & Mastered by Nathaniel Kunkel at Remote Control Productions, Santa Monica
Album Score Mix Assistant: Alfredo Pasquel
Orchestra Orchestra Contractor: Isobel Griffiths Assistant Orchestra Contractor: Lucy Whalley Orchestra Conducted by Gavin Greenaway Orchestra Leader: Perry Montague-Mason Librarian & Music Preparation: Jill Streater, Global Music Service Featured Artist: Jacob Collier Featured Guitarist: Guthrie Govan Featured Percussionist: Sheila E. Cello: Tina Guo Electric Bass Guitar: Yolanda Charles Upright Bass: Andy Pask Saxophone: Phill Todd Clarinet: Nicholas Bucknall Chromatic Harmonica: Philip Achille Percussion: Satnam S. Ramgotra
Funk Brass Funk Brass Conductor: Matt Dunkley Librarian: Ann Barnard
Disco Violins Leader: Perry Mantague-Mason Leader of 2nds: Emlyn Singleton
Choirs London Voices Co-Choirmasters: Ben Parry & Terry Edwards Conductor: Ben Parry
Jazz Choir Metro Voices Jazz Choirmaster: Jenny O'Grady Jazz Choir Conductor: Matt Dunkley
Executive in Charge of Back Lot Music: Mike Knobloch Business Affairs for Back Lot Music: Tanya Perara Production Director for Back Lot Music: Jake Voulgarides Marketing Manager for Back Lot Music: Nikki Walsh
Hans Zimmer & Steve Mazzaro thank: Jeffrey Katzenberg, Leonardo, Carmen & Rafael Baldwin, Bonnie Arnold, Mireille Soria, Tom McGrath, Ramsey Naito, James Ryan, Sunny Park, Jim Beshears, Charlene Huang, Tori Fillat, Sebastien Christie, Kaspar Hugentobler, Paul Ottosson, David Yanover, Gretchen Heieck, Jake Voulgarides, Nikki Walsh, Jean & Rod Mazzaro, Urs Heckmann, Candace Carlo, Jillian Abood, John Witt Chapman, Forest Christenson, BeBe Lerner, Rae Murillo & the ID Team, Ryan Ouchida, Chris Strong, Brigitte Zimmer, Vicki Zimmer, Suzanne Zimmer, Zoë, Jake, Max & Annabel
Release date : 03/24/2017
Survival Of The Fittest (2:24)
Baby Brother (3:58)
Welcome To Baby Corp (3:12)
You Can't Get Away From Johnny Law (2:11)
We Can Buy A Bouncy House (3:18)
Super Colossal Big Fat Boss Baby (1:11)
Barfmitzvah (2:11)
Toodaloo Toilet-Head! (4:02)
I Wish You Were Never Born (2:53)
Puppy Co. (3:27)
You Want To Hug Me, Don't You? (3:20)
Arrrggh (2:01)
Francis Francis (4:19)
You're Fired (4:28)
Upsies! I Need Upsies! (1:44)
Love (5:17)
Go Get Yourself A Horse (2:19)
What The World Needs Now Is Love - Missi Hale (4:15)
Cheek To Cheek (From the Motion Picture "Top Hat") - Fred Astaire (5:01)
(Every Time I Turn Around) Back In Love Again - L.T.D. (4:40)
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The Sierra Leone track Andrew K posted (link below)...I almost wonder if that's how 2010s Zimmer would redo The Lion King. More bass, more minimalist, more Interstellar...but still with an African flare.
Yes, it’s definitely no Megamind, but I will say that after revisiting it; definitely not as disappointing to me as when I first heard. The issues I have are still the same (frenetic action, ADD-type scoring, Pope’s cue being the strongest, etc.) but at the same time it’s a very charming score when it slows the pace and lets the emotional side come forward. I will even give credit to the main theme(s), they actually get more development than Megamind’s main tune. It’s a shame this score kinda got written off this year, it’s enjoyable enough.
And as for the “Love” cue, that really is one of the most beautiful pieces of music I’ve heard in recent memory. It’s a great throwback to classical music with that John Williams string sound. I really wish Zimmer had written it, but understandably that’s not his style.
Hybrid Soldier
2017-11-03 18:29:00
Hans wanted Conrad to just be Conrad. He spent like 2 months on that only cue !
mpolonest123
2017-11-03 21:27:14
Really?!? Well it shows! I’m confused though, did Hans bring Conrad on board or was that the production’s decision?
Yo Hybrid, credits for this? Mostly Steve? Mostly Hans? Hans suites and Steve everything else? What about Conrad Pope?
Edmund Meinerts
2017-04-07 20:41:18
I'd bet my left nut that "Love" is Pope.
Hybrid Soldier
2017-04-08 04:05:52
Pope did Love indeed.
Mike78
2017-04-08 11:03:17
Love is amazing . He rest is not as good as megamind . Don't think zimmer gave 100% to this
c
2017-04-08 13:57:25
Conrad Pope explains the cue on his facebook. They needed something more dynamic and classical-sounding.
The editor James Ryan also commented:
"Every screening for well over 2 years the last thing we would do was work on that scene and struggle to re-edit the temp. I've never worked on a scene in any movie that had so much riding on the music. The sigh of relief and joy when you delivered your masterpiece was something I will never forget. And watching you conduct it gave me the chills (and a few tears). Bravo!"
By far the strongest piece on the album. The rest is pretty forgettable.
Andrew27
2017-04-08 14:43:35
That's amazing to hear from the editor . Wish the rest of the score was as good as Popes piece.
Think Lego Batman is still best animation score this year . Was really looking forward to Boss Baby but seems generic .
Ds
2017-04-08 15:08:27
You guys are right that "Love" is a great cue. But the rest of the score is just as good, with plenty of ideas and a very cool and memorable theme.
The issue is that this kind of scores requires some patience from the listeners, because it's too crazy, too packed, with so many twists and style variations it's difficult to fully grasp the whole thing after just a few listens.
It's just like any John Powell score for animation: absolutely great music that takes some time to fully digest. So please, give it a few more spins and some time to grow on you before you judge it!
Mike (OTM)
2017-04-08 20:00:25
"Love" is an awesome cue and all. I really love it. But I don't understand: could no one at RCP have delivered something like this? Pope was obviously a good pick, but are Zimmer and co. truly incapable of arranging this type of thing?
mpolonest123
2017-04-08 20:21:06
@Mike(OTM) Not necessarily, I feel like Richard Harvey could easily have delivered something in this vein. That being said, I'm sure the production team probably had their heart set on whatever temps they used for that scene (more likely than not something that Pope either composed or orchestrated) and decided to go directly to the man himself.
It is a bit strange that they would only bring him in to do one scene, as opposed to working alongside Hans and Steve throughout. But it's not unheard of, I guess.
Miguel
2017-04-08 22:44:06
The only person at RCP that could do what Pope did was , is Balfe . Why didn't he get involved especially after the Megamind connection???
Hybrid, since you generally have an idea about this stuff, do you have a rough estimate of how composing duties/credits were divided here? Co-score all throughout? Mostly Steve? Mostly Hans? ;)
This Score Is Awsome, Hans Zimmer & Steve Mazzaro Work For The First Time And Additional Music By Cornad Pope. Is The Same Style Animated Movie Score Like Megamind With Lorne Balfe. Can Wait To See The Boss Baby
Not bad! The "Love" cue has great orchestral moments. At least *** score after the first listen.
credit
2017-03-26 10:46:03
So "Love" was obviously done by Conrad Pope. Never heard anyone from RCP write anything remotely close to that style.
But what about the rest of the score? I can hear a lot of Hans in the theme and the action material (a lot of his action riffs and stylings from megamind) but not sure which bits Mazzaro did.
iMe
2017-03-26 14:15:20
@credit
Agreed with your comment on Conrad Pope's involvement.
Goes to show what Hans Zimmer's tunes can become if orchestrated and arranged by someone of Pope's caliber. I hope to see the duo collaborate more often.
Miguel
2017-03-27 05:16:04
Conrad should have been the co composer with Hans I think !. I bet he contributed more than just that amazing cue .
Mike (OTM)
2017-03-27 15:52:51
So I agree it's likely that Conrad Pope was involved with the "Love" cue, but watch what's gonna happen...
We're gonna find out that cue is 100% Zimmer, and we're all gonna have our minds blown. Cause honestly, that type of thing happens a lot. :P
Jonathan Rochat
2017-03-27 16:24:51
Yes ok I then had a look at Conrad Pope. That guys has orchestrated "Jurassic Park" (and many many others) so yes it seems that the "love" cue could have been completely in his hand. And note this is the first Time Conrad Pope is credited as Additional composer here, maybe this is just because of that cue... Now we need to wait for Hybrid , maybe one day we will know the answer.
He's done a few scores (Pavilion of Women is outstanding), but he's better known as a veteran orchestrator for many years for composers like John Williams, Alan Silvestri and Alexandre Desplat. In other words, he knows what he's doing. Quite unexpected for him to show up on an RCP score!
Great score, love the action cues and the constant use of main theme in different variations throughout the whole score. Honestly I prefer this one over the Lego Batman soundtrack...
Dudu
2017-03-24 16:53:10
Same here!! Loved that score and prefer it to lego batman. The main theme is cool, and there's an "out-of-nowhere" throwback to the 90s in the cue "barfmitzvah", what can I ask more??
FilmMuso
2017-03-27 05:21:10
No way is it better than Lego Batman . This is Megamind basically . Lego Batman has interesting colors and has soul. Wouldn't mind more Conrad Pope collaborations though !
Hans Zimmer And Steve Mazzaro Workings Together As Composer For The First Time In This Movie. Wow!, I Can Wait To Hear The Score And See The Movie
I Still Remember That Hans Zimmer & Lorne Balfe Working Together At Megamind With The Director By Tom McGrath ,The Bible & Son Of God. I Got To Say Hans Zimmer Is The Best Composer I Ever Known And Hear His Music
Edmund Meinerts
2017-03-19 22:13:33
Yeah, Zimmer and Mazzaro are working together far from the first time here, Mr. Useless Shitpost Man.
Give it a chance, Steve Mazzaro has shown some promise in the past and has never really had a chance to show his talents in a more solo effort. Between this and Pirates, it'll be cool to hear his more orchestral side.
Hell, I still remember when Lorne Balfe was first breaking away from his co-composer status and people were hating on him...
Hybrid Soldier
2017-03-18 10:39:50
Hey Lorne is not a puppy waiting lol... He has a career, he is not spinning around what Hans does anymore !
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