FILM CREDITS
Music by John Powell
Supervising Music Editor: Amanda Goodpaster
Additional Music & Arrangements by Batu Sener & Paul Mounsey
Orchestrators: John Ashton Thomas, Mark Graham, Andrew Kinney, Randy Kerber, Rick Giovinazzo, Pete Anthony, Jon Kull & Jeff Atmajian
Score Conducted by John Powell
Concertmaster: Bruce Dukov
Solo Violins: Gabe Witcher, Sandy Cameron, Charlie Bisharat & Luanne Homzy
Solo Viola: Andrew Duckles
Guitars: George Doering, Andrew Synowiec & Paul Viapiano
Ethnic Winds: Chris Bleth
Accordion: Nick Ariondo
Piano & Harmonium: Doug Petty
Acoustic Bass: Dave Stone & Mike Valerio
Score Recorded & Mixed by Shawn Murphy
Additional Recording & Mixing by John Traunwieser
Scoring Editor: David Channing
Digital Score Recordist: Erik Swanson
Additional Engineering by John Michael Caldwell
Orchestra Contracted by Gina Zimmitti & Whitney Martin
Choir Contracted by Edie Lehmann Boddicker
Music Preparation by Mark Graham & Gregory Jamrok at JoAnn Kane Music Service
Stage Engineer: Erin Rettig
Stage Recordist: Tim Lauber
Stage Managers: Damon Tedesco, Peter Nelson & Christine Sirois
Score Recorded at Newman Scoring Stage & 5 Cat Studios
Score Mixed at 5 Cat Studios
Score Production Assistant: Nicholas McCarthy
Additional Music Editors: Catherine Wilson & Nashia Wachsman
Music by John Powell
Additional Music & Arrangements by Batu Sener & Paul Mounsey
Score Orchestrators: John Ashton Thomas, Mark Graham, Andrew Kinney, Randy Kerber, Rick Giovinazzo, Pete Anthony, Jon Kull & Jeff Atmajian
Music Preparation by Mark Graham & Gregory Jamrok at JoAnn Kane Music Service
Music Editor: Amanda Goodpaster
Score Recorded & Mixed by Shawn Murphy
Additional Recording & Engineering by John Traunwieser
Scoring Editor: David Channing
Digital Score Recordist: Erik Swanson
Additional Engineering by John Michael Caldwell
Score Recorded at Newman Scoring Stage & 5 Cat Studios
Stage Engineer: Erin Rettig
Stage Recordist: Tim Lauber
Stage Managers: Damon Tedesco, Peter Nelson & Christine Sirois
Score Mixed at 5 Cat Studios
5 Cat Studios A&R Executives: Kelly Adams & Kamille Rudisill
Score Production Assistant: Nicholas McCarthy
Soundtrack Album Produced by John Powell & Batu Sener
Soundtrack Album Mastered by Patricia Sullivan at Bernie Grundman Mastering
Score Produced by John Powell & Batu Sener
Choir
Conducted by John Powell
Contracted by Edie Lehmann Boddicker
Source Music
Brothel Piano: Greg Hilfman
Dog Harmonica: Jimmie Wood
Small Ensemble
Ethnic Winds: Chris Bleth
Accordion: Nick Ariondo
Piano/Harmonium: Doug Petty
Upright Bass: Dave Stone & Mike Valerio
Guitar: George Doering, Andrew Synowiec & Paul Viapiano
Fiddle: Charlie Bisharat, Gabe Witcher, Sandy Cameron & Luanne Homzy
Viola: Andrew Duckles
Orchestra
Conducted by John Powell
Contracted by Gina Zimmitti & Whitney Martin
Concertmaster: Bruce Dukov
John Powell wishes to thank:
Chris Sanders, James Mangold, Erwin Stoff, Emma Watts, Danielle Diego, Rebecca Morellato, Laura Engel, Richard Kraft, Amanda Goodpaster, John Ashton Thomas, Mark Graham, Gregory Jamrok, Andrew Hauschild, Abraham Libbos, Jessica Steele-Sanders, Jimmie Wood, Greg Hilfman, Cindi Hilfman & Holly Sedillo
Thanks to all the dogs in our lives:
Moose, Chase, Winston, Aussie, Millie, Finley, Brogan, Milo, Lando, Sirius, Koopa & of course "The Real Buck" Buckley!
Dedicated to Oliver Powell
John Powell
02 – Train North (4:02)
John Powell
03 – Skagway, Alaska (2:31)
John Powell
04 – Snowy Climb (1:25)
John Powell, Paul Mounsey
05 – First Sledding Attempt (2:27)
John Powell
06 – The Ghost Wolf Of Dreams (1:06)
John Powell
07 – Joining The Team (2:59)
John Powell, Batu Sener
08 – Ice Rescue (2:26)
John Powell, Batu Sener
09 – Sometimes Nature’s Cruel And Gods Fight (4:57)
John Powell
10 – Buck Takes The Lead (4:54)
John Powell, Batu Sener
11 – We Carry Love (3:02)
John Powell, Batu Sener
12 – Couldn’t Find The Words (2:22)
John Powell, Paul Mounsey
13 – Overpacked Sled (2:31)
John Powell, Paul Mounsey
14 – Newfangled Telegram (2:23)
John Powell
15 – In My Bed? (2:54)
John Powell
16 – Buck & Thornton’s Big Adventure (4:36)
John Powell, Batu Sener
17 – Finding Bears And Love In The Woods (2:57)
John Powell
18 – They’re All Gone (2:51)
John Powell
19 – Rewilding (3:48)
John Powell
20 – Animal Nature (2:34)
John Powell
21 – Come Say Goodbye (2:09)
John Powell
22 – What An Adventure (3:02)
John Powell
23 – The Call Of The Wild (2:51)
John Powell
We just finished watching this film at home with my kids. It's ok but Sometimes Nature's cruel and gods fight cue in the film is drastically different than the soundtrack album version. It sounds like Powell had to re-write the cue for the film.
I think the reason why it sounds so different in the film is because the choir is missing. My guess is that somebody thought the scene with the dogs fighting was too intense with the choir included, so they removed it for the film version of the cue. That’s just my theory, anyways.
They probably haven't collaborated because Williams doesn't usually do so anyway, and I doubt he was terribly interested in working with Hans, as their styles are so drastically different from each other.
Powell is at least known for a lot of rhythm and drum work in addition to his melodic style, so it makes sense even there. Williams barely ever writes rhythm focused scores in comparison.
Whoops, intended this to be part of the previous thread
I guess being able to work that close to John Williams changes a man… :)
These day, sure. But we usually get news of the next one by the time he's finished wrapping up the current one.
It is good, very good.
But still no manage to top his work in HTTYD, but, really impressive.
Up in Itunes NZ
https:// music.apple.com/nz/album/the-call-of-the-wild-original -motion-picture-soundtrack/1498520127
Sounds pretty, pretty good
I rare times care about the short cues in an album, if the album is cohesive and good.
Actually, i really like Armada Battle from HTTYD 3. ;D
Agreed. It's curious that some tracks are rather short for Powell standards. Like "The Ghost Wolf of Dreams" or track 4, really.
It's rare to see short tracks like those from him.
Well…it depends on the music itself really. "Armada Battle" and "Madrid Finale" are recent examples of quite long tracks from Powell scores that nevertheless feel like they jump all over the place, which kind of defeats the purpose. I'd rather have 4 or 5 minute tracks that feel really cohesive (after all, Solo was mostly like that).