Hans Zimmer
Composer
Lorne Balfe
Composer
Andrew Kawczynski
Additional Music
David Fleming
Additional Music
Steve Mazzaro
Additional Music
Steven Davis
Additional Arrangements
Sven Faulconer
Additional Arrangements
Stuart Michael Thomas
Additional Arrangements
Max Aruj
Additional Arrangements
Steffen Thum
Additional Arrangements
Steven Doar
Sequencer Programmer
Omer Benyamin
Sequencer Programmer
Kevin Schroeder
Synth Programmer
Bruce Fowler
Orchestrator
Walt Fowler
Orchestrator
Suzette Moriarty
Orchestrator
Jennifer Hammond
Orchestrator
Tina Guo
Musician
Geoff Zanelli
Musician
Ryan Rubin
Music Editor
Al Clay
Music Scoring Mixer
Stephen Lipson
Music Scoring Mixer
Chuck Choi
Technical Score Engineer
Alejandro Moros
Technical Music Assistant
Fabio Marks
Technical Music Assistant
Aldo Arechar
Technical Music Assistant
Alfie Godfrey
Technical Music Assistant
Michael Bitton
Technical Music Assistant
Alex Lamy
Technical Music Assistant
Edie Lehmann Boddicker
Vocal Contractor
Mark Wherry
Digital Instrument Design
Taurees Habib
Digital Instrument Preparation
Raul Vega
Digital Instrument Preparation
Guthrie Govan
Music Consultant
Peter Rotter
Orchestra Contractor
Queenie Li
Score Coordinator
Shalini Singh
Score Coordinator
Cynthia Park
Assistant to Hans ZIMMER
Nicole Jacob
Assistant to Hans ZIMMER
Steven Kofsky
Music Production Services
Music by Harold Faltermeyer, Lady Gaga & Hans Zimmer
Score Produced by Lorne Balfe
Supervising Music Editor: Cecile Tournesac
Music Editor: Ryan Rubin
Additional Music Editorial: Peter Myles & Mikael Sandgre
Music Consultants: Jason Bentley, T Bone Burnett, Kathy Nelson & Ryan Tedder
Additional Music by David Fleming, Andrew Kawczynski & Steve Mazzaro
Additional Arrangements: Steve Davis, Sven Faulconer, Stuart Michael Thomas, Max Aruj & Steffen Thum
Featured Musicians:
Bass: Nico Abondolo & Trey Henry
Cello: Tina Guo & Ro Rowan
French Horn: Dylan S. Hart
Trumpet: Thomas Hooten
Electric Guitar: Lexii Lynn Frazier
Drums: Chad Smith
Violin: Ben Powell
Score Consultant: Guthrie Govan
Orchestrations by Bruce L. Fowler, Walt Fowler, David Giuli, Jennifer Hammond, Yvonne Suzette Moriarty & Booker White
Music Preparation: Booker White
Orchestral Contractor: Peter Rotter
Score Mixed by Al Clay & Stephen Lipson
Score Mix Assistant: Alvin Wee
Sequencer Programming: Omer Benyamin & Steven Doar
Technical Score Engineer: Chuck Choi
Technical Assistants: Alejandro Moros, Alex Lamy, Fabio Marks, Jim Grimwade, Aldo Arechar, Kevin Anderson, Florian Faltermeyer, Alfie Godfrey & Michael Bitton
Synth Programming: Hans Zimmer & Lorne Balfe
Synth Design: Kevin Schroeder
Digital Instrument Design: Mark Wherry
Digital Instrument Preparation: Taurees Habib & Raul Vega
Music Production Services: Steven Kofsky
Score Coordinators: Shalini Singh & Queenie Li
Assistants to Hans Zimmer: Cynthia Park & Nicole Jacob
"Viper Comes Down On Mav"
From the Motion Picture Top Gun
Written & Performed by Harold Faltermeyer
"Hold My Hand"
Written & Produced by Lady Gaga & BloodPop
Vocal & Additional Production by Benjamin Rice
Performed by Lady Gaga
ALBUM ASSEMBLY
Main Titles (You've Been Called Back To Top Gun) : 1m1 v3.1 C8.1 Logos - Aircraft Carrier (Edited) + 1m9 v16 C8.1 You've Been Called Back To Top Gun (Edited)
Darkstar : 1m4 v22.17 C8.1 Darkstar (Edited)
You're Where You Belong - Give 'Em Hell : 5m43 v4 C8.2 Mav To Penny - Mav On Carrier (Edited) + 5m44 v12.02 C8.2 Pre-Mission (Edited)
Dagger One Is Hit - Time To Let Go : 6m51 v5.17 C8.2 Mav Goes Down + 4m28 v11.1 C8.3 Mav Visits Ice (Edited)
Tally Two - What's The Plan - F-14 : 6m58 v4 C8.2 Bandits Arrive (Edited) + 6m53 v15.03 C8.2 Mav-Rooster Enemy Base (Edited) + 6m54 v18 C8.2 Stealing F14 (Edited)
The Man, The Legend - Touchdown : 7m60 v9.05 C8.4 Out Of Options (Edited) + 7m61 v19.56 C8.4 Carrier Landing + 7m62 v2.20 C8.4 Carrier Celebration
Penny Returns (Interlude) : 5m43 v4 C8.2 Mav To Penny - Mav On Carrier (Edited)
Hold My Hand : Hold My Hand (Album Version)
Top Gun Anthem : 7m65 v22 C8.4 Top Gun Anthem
Canyon Dogfight : 6m59 v2.1 C8.2 Canyon Dogfight
Harold Faltermeyer
1m3A v12 ALT C8.1 Mav In Hangar (1:17)
Harold Faltermeyer, Hans Zimmer, Lorne Balfe
1m3B v83.1 C8.1 Drive To Mach 9 Test (1:13)
Harold Faltermeyer, Hans Zimmer
1m4 v22.17 C8.1 Darkstar (3:43)
Harold Faltermeyer, Lorne Balfe
1m5 v3.73 C8.1 Love Of Aviation (1:26)
Lady Gaga, BloodPop, Hans Zimmer
1m5B v1.44 C8.1 Mach 10 (1:20)
Harold Faltermeyer, Hans Zimmer, Lorne Balfe, David Fleming
1m9 v16 C8.1 You’ve Been Called Back To Top Gun (1:42)
Harold Faltermeyer
2m10 v7.4 C7.4 Mav In Cyclone’s Office (1:17)
Harold Faltermeyer
2m18 v5.07 C7.5 Mav Flashback (1:47)
Harold Faltermeyer
3m22 v7 C8.3 BFM 3 – Come & Get Me Rooster (1:45)
Hans Zimmer, Lorne Balfe
3m23 v5.01 C8.3 Class Of 86 (0:30)
Hans Zimmer, Lorne Balfe
3m25 v13 C8.3 Now You’re In The Navy (1:58)
Lady Gaga, BloodPop, Hans Zimmer
3m26 v80.03 C8.3 Time Is Your Greatest Enemy (5:04)
Harold Faltermeyer, Hans Zimmer, Lorne Balfe, Andrew Kawczynski, Max Aruj
4m27 v9.04 C8.3 I Need To See You (1:53)
Harold Faltermeyer
4m28 v11.1 C8.3 Mav Visits Ice (3:15)
Harold Faltermeyer, Hans Zimmer, Lorne Balfe
4m29B v3.02 C8.3 Tedder Strings Overlay (0:39)
Lorne Balfe
4m30B v2.40 C8.3 Love Scene (2:57)
Lady Gaga, BloodPop, Hans Zimmer
4m33 v37.1 C8.3 This Will Require Two Successive Miracles (3:19)
Hans Zimmer, Lorne Balfe
4m33B v17 C8.3 Coyote In G-Loc (0:49)
Hans Zimmer, Lorne Balfe, Max Aruj
4m35 v12.07 C8.3 Both Engines Are Out (1:26)
Hans Zimmer, Lorne Balfe
5m40 v19.12 c8.2 Low Level Flight (3:32)
Harold Faltermeyer, Hans Zimmer, Lorne Balfe, Max Aruj
5m43 v4 C8.2 Mav To Penny – Mav On Carrier (3:36)
Lady Gaga, BloodPop, Hans Zimmer, Lorne Balfe, David Fleming
5m44 v12.02 C8.2 Pre-Mission (4:04)
Hans Zimmer, Lorne Balfe
5m45 v8 C8.2 Mission Start (2:24)
Harold Faltermeyer, Hans Zimmer, Lorne Balfe
5m46 v1 C8.2 Bandits On Radar (0:23)
Hans Zimmer, Lorne Balfe, Andrew Kawczynski
6m50 v12 C8.2 Rooster Increases Speed (1:08)
Hans Zimmer, Lorne Balfe, Andrew Kawczynski
6m51 v5.17 C8.2 Mav Goes Down (2:48)
Hans Zimmer, Lorne Balfe, Max Aruj
6m52 v5.03 C8.2 Mav Down In Snow (1:40)
Hans Zimmer, Lorne Balfe, Max Aruj
6m53 v15.03 C8.2 Mav-Rooster Enemy Base (2:42)
Hans Zimmer, Lorne Balfe
6m54 v18 v8.2 Stealing F14 (1:46)
Hans Zimmer, Lorne Balfe
6m58 v4 C8.2 Bandits Arrive (1:41)
Hans Zimmer, Lorne Balfe, Andrew Kawczynski
6m59 v2.1 C8.2 Canyon Dogfight (3:18)
Hans Zimmer, Lorne Balfe, Andrew Kawczynski
7m59B v1 C8.2 Radio On (0:22)
Hans Zimmer, Lorne Balfe
7m60 v9.05 C8.4 Out Of Options (2:22)
Harold Faltermeyer
7m61 v19.56 C8.4 Carrier Landing (1:30)
Harold Faltermeyer, Hans Zimmer
7m62 v2.20 C8.4 Carrier Celebration (2:25)
Lady Gaga, BloodPop, Hans Zimmer
7m64 v2 C8.4 Penny Returns – Hold My Hand (3:58)
Lady Gaga, BloodPop, Hans Zimmer
7m65 v22 C8.4 Top Gun Anthem (2:29)
Harold Faltermeyer, Hans Zimmer, Lorne Balfe
Song – Hold My Hand (Album Version) (3:45)
Lady Gaga, BloodPop
"Hold My Hand"
Performed by Lady Gaga
Produced by Lady Gaga & BloodPop
Vocals & Additional Production by Benjamin Rice
"Top Gun Anthem"
Written by Harold Faltermeyer
"Main Titles (You've Been Called Back To Top Gun)" & "Darkstar"
Contain an Interpolation of "Top Gun Anthem"
"You're Where You Belong / Give 'Em Hell", "The Man, The Legend / Touchdown" & "Penny Returns - Interlude"
Contain an Interpolation of "Hold My Hand"
Music by Lorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer
Supervising Music Editor: Cécile Tournesac
Music Editor: Ryan Rubin
Additional Music Editorial: Peter Myles & Mikael Sandgren
Music Consultants: Jason Bentley, T Bone Burnett, Kathy Nelson & Ryan Tedder
Additional Music by David Fleming, Andrew Kawczynski & Steve Mazzaro
Additional Arrangements: Steve Davis, Sven Faulconer, Stuart Michael Thomas, Max Aruj & Steffen Thum
Bass: Nico Abondolo & Trey Henry
Cello: Tina Guo & Ro Rowan
French Horn: Dylan S. Hart
Trumpet: Thomas Hooten
Electric Guitar: Lexii Lynn Frazier
Drums: Chad Smith
Violin: Ben Powell
Orchestrations by Bruce L. Fowler, Walt Fowler, David Giuli, Jennifer Hammond, Yvonne Suzette Moriarty & Booker White
Music Preparation: Booker White
Orchestral Contractor: Peter Rotter
Score Mixed by Al Clay & Stephen Lipson
Score Mix Assistant: Alvin Wee
Sequencer Programming: Omer Benyamin & Steven Doar
Technical Score Engineer: Chuck Choi
Technical Assistants: Alejandro Moros, Alex Lamy, Fabio Marks, Jim Grimwade, Aldo Arechar, Kevin Anderson, Florian Faltermeyer, Alfie Godfrey & Michael Bitton
Synth Programming: Hans Zimmer & Lorne Balfe
Synth Design: Kevin Schroeder
Digital Instrument Design: Mark Wherry
Digital Instrument Preparation: Taurees Habib & Raul Vega
Music Production Services: Steven Kofsky
Score Coordinators: Shalini Singh & Queenie Li
Assistants to Hans Zimmer: Cynthia Park & Nicole Jacob
Soundtrack Album Mastered by Manny Marroquin Album Producers: Lorne Balfe & Hans Zimmer
Album Executive Producers: Jerry Bruckheimer, Tom Cruise, Joseph Kosinski & Anthony Seyler
Executive in Charge of Music for Paramount Pictures: Randy Spendlove
For Interscope:
Marketing: Adrian Amodeo & Lisa Wagner
Soundtrack Manager: Lauren Henderson
Digital Markering: Chris Mortimer, Allison Hsu & Kazy Brown
Creative: Jared Shelton, Michelle An & Chelsea Dodson
Publicity: Cara Donatto & Christine Wolff
International: Tomoko Itoki, Jurgen Grebner & Lisa Parefelt
Production: Gretchen Anderson
Business Affairs: Jason Kawejsza, Breanne Hoke & Tracy Kies
A&R Administration: Marta Navas
Art Direction: Ianthe Zevos
Revenue: Gary Kelly & Nicole Csabai
For Paramount:
Album Coordinator: Tiffany Mottale & Michael Murphy
Business Affairs for Paramount Pictures: Dan Butler & Robert Gasper
Special Thanks:
Lina Ajao, Susan Arnold, Lily Bennett, Steve Berman, Jon David Bernal, Mary Jo Braun, Chelsea Brines, Micaela Cain, Bobby Campbell, Sheryl Carlin, Danielle De Palma, Dina Durant, Adam Erlich, Heather Fields, Esther Friedman, Rebecca Hershorn, John Janick, Renaud Jean-Baptiste, Jordan Keller, Kathleen Kelly, Tina Kiehl, Jake Kozarec, Harrison Kreis, Matt Lamotte, Brian Loucks, Sarah Lewis, Manny Marroquin, Dayere McHenry, Jackie Mendoza, Katerina Miheliuthakis, Didi Navarro, Frank Pagano, Vanessa Palmer, Andrey Peterson, Jackie Petri, Brian Pianko, Greg Prink, Areli Quirarte, Jessica Reddick, Jodie Regan, Sam Riback, Branda Romano, Melissa Ruiz, Michelle Sangenito, Kim Seiniger, Randy Shefer, Sarah Smith, Micki Stern, Ynna Tugung, Maddy Van Remortel, Angela Vredenburg, Marc Weinstock, Darrick Williams & Kaiyun Wong
Harold Faltermeyer
Harold Faltermeyer, Lorne Balfe
Lady Gaga, BloodPop, Hans Zimmer, Lorne Balfe
Harold Faltermeyer, Hans Zimmer, Lorne Balfe, Max Aruj
Hans Zimmer, Lorne Balfe, Andrew Kawczynski
Lady Gaga, BloodPop, Harold Faltermeyer, Hans Zimmer
Lady Gaga, BloodPop, Hans Zimmer
Lady Gaga, BloodPop
Harold Faltermeyer, Hans Zimmer, Lorne Balfe
13 – Canyon Dogfight (Japan Bonus Track) (3:18)
Hans Zimmer, Lorne Balfe, Andrew Kawczynski
F1 now has a score-only album. Oh that’s cool…I’m glad I didn’t buy that F1 “deluxe album” that was one CD of pop music and one CD of score and overpriced…Where was this two weeks ago? I’d be willing to bet a lot of people bought the other version for the score when they could have saved money by waiting.
Hey Stephane. I know you have priorities beyond this site and I totally respect that. Would you consider at least updating the site with pages for big new Zimmer releases like F1 and Dune Part 3, even if it’s not RCP-wide anymore? Just a thought :)
Yeah….I’ve never been a fan of mixed albums personally. If there is a mix I prefer the songs to be at the end, like TASM 2, so it doesn’t disrupt the score listening experience
I don’t mind them if they actually have songs from the film
I just hate how they always released with songs and score on separate “discs”… would be nice if these dang movie studio / record companies just released the soundtracks in film order
Tracks not being in chronological order is mostly fine
Now, tracks that are edited like THIS are the real pain to my ears:
1st track: 1m01 edited + 7m47 edited + 4m23
2nd track: 2m14 + 6m30 edited
…
3rd track: suite
4th track: 1m02
This is just an example…
For me it depends how artfully it’s done, and what sort of listening mood I’m in. An album like Hannibal, where the way the first half of the score is organised bears little resemblance to how it appears in the film, is still something I enjoy listening to because it provides a different sort of listening experience, but I’m still glad I have access to the recording sessions for when I’m more of a “cue dump” mood.
Yeah, I agree, I definitely had those vibes about Hannibal
But something like The Dark Knight album doesn’t really work for me (probably partially because I was exposed to sessions before I listened to album)
Also, I remember Gladiator 2cd thing, where all tracks are all pver the place, plus with voiceover which is not even from same scene anyway
Yeah, not a fan of the voice-overs! I even ended up making my own custom version of the Hannibal soundtrack using the recording sessions to “repair” the parts that have Anthony Hopkins speaking. But I do like the way so many of the tracks on those older releases seamlessly transition into each other. It seems to have gone out of favour these days, but I really did feel it made for a more immersive listening experience.
At least, in Hannibal those speeches are actually from the scenes, where music takes place…
And there are some editing choices in album that made some tracks sound better, “Let my home be My Gallows” for example…
Broken Arrow’s original album has probably one of the worst cutting choices between cues inside of tracks
Thanks to La La Land for a proper release… Though, I like the simplicity of original album’s titles (Nuke, Mine, Stealth)
I listened to Lalaland’s version before hearing original…