FILM CREDITS
Music by Trevor Rabin
Supervising Music Editor: Jeanette Surga
Music Editor: Dan Di Prima
Temp Music Editor: Chuck Martin
Assistant Music Editor: Oliver Hug
Music Scoring Editor: Robb Boyd
Executive Music Producer: Lowell Blank
Music Consultants: Budd Carr & Nora Felder
Additional Music by Paul Linford, Don Harper & David Reynolds
Featured Vocalist: Liz Constantine
Score Recorded & Mixed by Joel Iwataki
Additional Engineering by Trevor Rabin & Paul Linford
Orchestrations by Gordon Goodwin, Trevor Rabin, Tom Calderaro & Frank Macchia
Music Preparation by Booker White, Walt Disney Music Library
Orchestra Conducted by Gordon Goodwin
Digital Recording Operator: Larry Mah
Orchestra Contractors: Sandy DeCrescent & Peter Rotter
Orchestra Recorded at Todd AO Scoring Stage
Orchestra Mixed at Eastwood Scoring Stage & Warner Bros.
Score Recordist: Tom Hardisty
"Never Let Go"
Performed by Bryan Adams
Written by Bryan Adams, Eliot Kennedy & Trevor Rabin
Orchestral Arrangement by Trevor Rabin & Jennifer Hammond
Produced by Bryan Adams & Trevor Rabin
ALBUM ASSEMBLY
Never Let Go : Never Let Go
The Guardian Suite : 10m53-56 Randall Frees Jake (Edited) + 7m44 Graduation - Goodbye To Emily (Edited) + 1m01-02 Opening - Randall Rescues Couple (Edited)
Trevor Rabin
1m03 Helen Leaves (1:14)
Paul Linford
1m03 ALT Helen Leaves (Alternate) (1:15)
Paul Linford
2m04-05 Abandon Ship – Copter Crash (5:53)
Trevor Rabin, David Reynolds
2m04 INS Abandon Ship (Insert) (0:45)
Trevor Rabin, Don Harper
2m06 Billings Surfaces (1:14)
Trevor Rabin
2m07 Billings Dies (3:34)
Trevor Rabin
3m09 “A” School Introduction (3:48)
Trevor Rabin, Paul Linford
3m10 Randall’s Nightmare – Flashback #1 (0:39)
Trevor Rabin
3m11 Tread Water (2:00)
Paul Linford
3m12 Willing To Sacrifice (0:34)
Paul Linford
4m21 Hypothermic Pool Lesson (2:46)
Trevor Rabin, Don Harper
4m21 ALT Hypothermic Pool Lesson (Alternate) (2:46)
Trevor Rabin, Don Harper
5m22 Flare Demo – Flashback #2 (0:38)
Paul Linford
5m23 Understand Your Limits (1:44)
Trevor Rabin
5m27 Pushing Blocks (1:27)
Paul Linford
5m28 Breath Record (1:17)
Paul Linford
6m33 Maggie & Randall Getting Old (0:49)
Trevor Rabin
6m33 ALT NO GTR Maggie & Randall Getting Old (Alternate) (0:49)
Trevor Rabin
6m34 Rude Awakening – Flashback #3 (0:27)
Paul Linford
6m35 Burning Boat Footage (1:11)
Trevor Rabin
6m35 ALT Burning Boat Footage (Alternate) (1:09)
Trevor Rabin
6m36 Hodge Panics (1:28)
Paul Linford
6m40 Jake’s Past (4:43)
Trevor Rabin
7m43 They’re Not Coming Back (2:01)
Trevor Rabin
7m43A Skinner Bleeds (0:50)
Trevor Rabin
7m44 Graduation – Goodbye To Emily (3:19)
Trevor Rabin
8m45 Randall Back To Kodiak (1:45)
Trevor Rabin
8m46 Heading To Cave (2:46)
Trevor Rabin
8m47 Flashback #4 – Log Strike – Rescue (4:46)
Trevor Rabin, David Reynolds
8m48 Randall Resigns (3:14)
Trevor Rabin
8m49 Randall Goes Back To Helen’s (1:45)
Trevor Rabin
8m50 Randall Gives Helen Divorce Papers (1:30)
Trevor Rabin
9m51 Fishing Boat Rescue (5:24)
Trevor Rabin, Don Harper
9m52 Randall Returns To HQ (6:20)
Trevor Rabin, Don Harper
10m53-56 Randall Frees Jake (8:59)
Trevor Rabin
EC Song – Never Let Go (5:06)
Bryan Adams, Trevor Rabin, Eliot Kennedy, Jennifer Hammond
"Never Let Go"
Performed by Bryan Adams
Written by Bryan Adams, Eliot Kennedy & Trevor Rabin
Orchestral Arrangement by Trevor Rabin & Jennifer Hammond
Produced by Bryan Adams & Trevor Rabin
"The Guardian Suite"
Composed by Trevor Rabin
Executive Soundtrack Album Producers: Andrew Davis & Lowell Blank
02 – Something To Talk About – Shedaisy (3:54)
03 – Saturday Night – Ozomatli (4:01)
04 – Love & Happiness – Bonnie Bramlett (4:32)
05 – The Mockingbird – Lisa Lavie (3:06)
06 – Hold Tight – Tad Robinson (4:03)
07 – Tri-Me – Abbey Ahmad (4:33)
08 – Hold On, I’m Coming – Bonnie Bramlett (2:57)
09 – Shake Up The World – Stevie “Funkworm” Butler Feat. Gravy (4:09)
10 – Friday Night – Cheryl Wilson (3:00)
11 – Run Me In The Dirt (Throwdown) – Butch Flythe (3:29)
12 – The Guardian Suite (7:39)

8 Comments
Leave A Comment
You must be logged in to post a comment.

I found the complete score on one unnamed web site and i must say, that I love it, very underrated
I found the complete score on one unnamed web site and i must say, that I love it, very underrated
I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.
===========================
I totally get what you're saying. I also get kinda frustrated when a "big" track overshadows an entire score. The best recent examples are IMO the Transformers scores. I don't blame folks for gravitating towards the epic sound and the power anthems, but A LOT of subtle, equally great tracks end up getting completely ignored. And just like you, they're usually my favorite tracks.
But why most people don't think like us?
The reason I think is because those "big tracks" are presented – most of the time – during the most memorable moments in those movies. They immediately get people's attention. They're stuck in their mind along with those iconic images. And I think by nature, people are more attracted to the big and "in your face". For most casual listeners the more subtle tracks work in the context of the movie and they absolutely do notice them while watching the actual film. But unlike you and I they don't feel the need to listen to them separately. They're too busy paying attention to the "big track". That goes even for some score fans.
While tracks like the Star War theme, the Indy theme, the Transformers theme, the Gladiator theme, the Godfather theme, the Armageddon theme, the Pirates theme, the Lord of the Rings theme are so big, melodic abd easily digestable that folks simply can't resist them. And when there are vocals involved as well (like Gladiator) it's even better, because people treat it as a full-blown song. An emotional song that they can listen to over and over again.
The subtle tracks simply can't win against that. Sadly….
By the way, speaking of The Island, My Name is Lincoln (as much as I like it) is not my favorite track of the score. The more subtle opening track (The Island Awaits You) and especially the Lima One Alpha theme are my personal favorite tracks. Of course, they're nowhere near My Name is Lincoln, in terms of popularity.
I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.
===========================
I totally get what you're saying. I also get kinda frustrated when a "big" track overshadows an entire score. The best recent examples are IMO the Transformers scores. I don't blame folks for gravitating towards the epic sound and the power anthems, but A LOT of subtle, equally great tracks end up getting completely ignored. And just like you, they're usually my favorite tracks.
But why most people don't think like us?
The reason I think is because those "big tracks" are presented – most of the time – during the most memorable moments in those movies. They immediately get people's attention. They're stuck in their mind along with those iconic images. And I think by nature, people are more attracted to the big and "in your face". For most casual listeners the more subtle tracks work in the context of the movie and they absolutely do notice them while watching the actual film. But unlike you and I they don't feel the need to listen to them separately. They're too busy paying attention to the "big track". That goes even for some score fans.
While tracks like the Star War theme, the Indy theme, the Transformers theme, the Gladiator theme, the Godfather theme, the Armageddon theme, the Pirates theme, the Lord of the Rings theme are so big, melodic abd easily digestable that folks simply can't resist them. And when there are vocals involved as well (like Gladiator) it's even better, because people treat it as a full-blown song. An emotional song that they can listen to over and over again.
The subtle tracks simply can't win against that. Sadly….
By the way, speaking of The Island, My Name is Lincoln (as much as I like it) is not my favorite track of the score. The more subtle opening track (The Island Awaits You) and especially the Lima One Alpha theme are my personal favorite tracks. Of course, they're nowhere near My Name is Lincoln, in terms of popularity.
Y'know, it's funny. The big names that always get the most attention in film music are often not my favorite tracks of the scores they represent. Now We Are Free, Arrival to Earth, Like A Dog Chasing Cars, Star Wars Main Theme, Indiana Jones Main Theme, Infinite White, One Day, Circle of Life, The Fellowship. Though they are the most well known, they're usually nowhere near the peak of quality of their scores.
I noticed this the most in Hans Zimmer's concerts (not World of Hans Zimmer mind you). The parts he played from The Dark Knight Trilogy in particular usually had the least substance. Just the bombastic tracks. The only choice I agreed with was Time from Inception. There was no Am I Not Merciful, A Watchful Guardian, Sunrise Over Pride Rock, none of that.
Even with Star Wars, the main theme and the Force theme are solid pieces of music, but neither come close to the beauty of Princess Leia's theme, or the wondrous Yoda theme.
Same with Lord of the Rings. The Fellowship Reunited, Very Old Friends, Gollum, and The Breaking of the Fellowship are much more substantial pieces than The Fellowship Theme alone in my opinion.
Can't say anything about My Name is Lincoln because I haven't finished The Island score yet, but yeah. I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.
Y'know, it's funny. The big names that always get the most attention in film music are often not my favorite tracks of the scores they represent. Now We Are Free, Arrival to Earth, Like A Dog Chasing Cars, Star Wars Main Theme, Indiana Jones Main Theme, Infinite White, One Day, Circle of Life, The Fellowship. Though they are the most well known, they're usually nowhere near the peak of quality of their scores.
I noticed this the most in Hans Zimmer's concerts (not World of Hans Zimmer mind you). The parts he played from The Dark Knight Trilogy in particular usually had the least substance. Just the bombastic tracks. The only choice I agreed with was Time from Inception. There was no Am I Not Merciful, A Watchful Guardian, Sunrise Over Pride Rock, none of that.
Even with Star Wars, the main theme and the Force theme are solid pieces of music, but neither come close to the beauty of Princess Leia's theme, or the wondrous Yoda theme.
Same with Lord of the Rings. The Fellowship Reunited, Very Old Friends, Gollum, and The Breaking of the Fellowship are much more substantial pieces than The Fellowship Theme alone in my opinion.
Can't say anything about My Name is Lincoln because I haven't finished The Island score yet, but yeah. I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.
Hmm, aside from "The Guardian Suite' I don't think I've heard any other tracks from this score. And I have a feeling I'm not the only one….lol.
Speaking of………I would most definitely put "The Guardian Suite' right up there next to "Now We Are Free" and "My Name is Lincoln". It's *that* good and powerful. Shame that the movie is not as popular as The Island and Gladiator. If it was, that suite would've been one of the most popular film score tracks with millions of views on YouTube. It certainly deserves it.
Hmm, aside from "The Guardian Suite' I don't think I've heard any other tracks from this score. And I have a feeling I'm not the only one….lol.
Speaking of………I would most definitely put "The Guardian Suite' right up there next to "Now We Are Free" and "My Name is Lincoln". It's *that* good and powerful. Shame that the movie is not as popular as The Island and Gladiator. If it was, that suite would've been one of the most popular film score tracks with millions of views on YouTube. It certainly deserves it.