FILM CREDITS
Music by Basil Poledouris
Supervising Music Editor: Charles Martin Inouye
Music Editing: Segue Music
Additional Music by Fiachra Trench
"The Bear" Written by Shirley Walker
Orchestrations: Greig McRitchie, Fiachra Trench & Shirley Walker
Music Recorded & Mixed by Tim Boyle at Evergreen Recording Studios
Music Recorded by Steve Price at Snake Ranch & CTS
Music Mixed by Paul Hulme at Air-Edel, London
Music Production Supervisor: Maggie Rodford, Air-Edel, London
NOTE : Two scores were written for White Fang, the first by Basil Poledouris and a replacement one by Hans with the help of Fiachra Trench & Shirley Walker. In the end, about half of each score was used in the film, despite Hans being completely uncredited.
ALBUM ASSEMBLY
Opening Credits - Main Title : 1m1 Opening Credits - Main Title
The Golden Staircase : 1m2 Golden Staircase
The Trek Continues : 2m6 The Trek Continues
Black Wolf : 2m2 Jack Sees Wolves + 2m3 Black Wolf + 2m5 Fang Fed + 2m1 The Place + 3m1 Thin Ice + 3m2 Skunker's Death
Full Moon Wolf Attack : 3m3 Full Moon Wolf Attack + 3m3A Morning Wolf Attack
Kiche's Demise : 3m4 Kiche's Demise + 4m1 Wolf Dance + 8m3 Pit Fight
Seasons Pass : 5m1 Training White Fang + 5m5 Seasons Pass + 5m6 The River + 6m1 Jack Re-Meets Fang + 6m3 The Wild + 6m4 The Bear
The Bear Attack : 6m4A The Bear Attack
The Mine : 6m5 Jack Thanks Fang + 7m1 The Mine + 8m4 Caring For Fang + 6m6 Safe Refuge + 7m5 White Fang Fights Satan + 7m3 In The Stable + 8m1 Fight Montage
Fang With Jack : 9m1 Jack Bit + 9m2 Fang With Jack
Vengeance Fulfilled : 10m3 Testing The Gold + 10m2 No Shelter + 10m1 Through The Window + 10m6 Vengeance Fulfilled
Home Again : 11m2 Two Companions + 10m4 We're Rich + 9m3 Just Friends + 11m4 Home Again
Hans Zimmer
1m2 Golden Staircase (2:24) +
Hans Zimmer
2m1 The Place (2:28)
Hans Zimmer
2m2 Jack Sees Wolves (0:28) *
Hans Zimmer
2m3 Black Wolf (0:11) *
Hans Zimmer
2m5 Fang Fed (0:50)
Hans Zimmer
2m6 The Trek Continues (1:53) +
Fiachra Trench
3m1 Thin Ice (2:39) *
Hans Zimmer
3m2 Skunker’s Death (2:03) *
Hans Zimmer
3m3 Full Moon Wolf Attack (0:52) *
Fiachra Trench
3m3A Morning Wolf Attack (0:30) *
Fiachra Trench
3m4 Kiche’s Demise (2:01)
Hans Zimmer
4m1 Wolf Dance (5:49)
Hans Zimmer
5m1 Training White Fang (0:22)
Hans Zimmer
5m5 Seasons Pass (1:10)
Hans Zimmer
5m6 The River (1:07)
Hans Zimmer
6m1 Jack Re-Meets Fang (0:42)
Hans Zimmer
6m3 The Wild (0:35)
Hans Zimmer
6m4 The Bear (0:36) *
Fiachra Trench
6m4A The Bear Attack (2:39) *
Hans Zimmer, Shirley Walker
6m5 Jack Thanks Fang (0:41)
Hans Zimmer
6m6 Safe Refuge (2:42)
Hans Zimmer
7m1 The Mine (0:49)
Hans Zimmer
7m3 In The Stable (0:36) *
Hans Zimmer
7m5 White Fang Fights Satan (0:36) *
Fiachra Trench
8m1 Fight Montage (1:41) +
Fiachra Trench
8m3 Pit Fight (1:56) +
Hans Zimmer
8m4 Caring For Fang (0:35)
Hans Zimmer
9m1 Jack Bit (1:20)
Hans Zimmer
9m2 Fang With Jack (2:02)
Hans Zimmer
9m3 Just Friends (1:06)
Hans Zimmer
10m1 Through The Window (0:17)
Hans Zimmer
10m2 No Shelter (0:17)
Hans Zimmer
10m3 Testing The Gold (1:14)
Hans Zimmer
10m4 We’re Rich (0:33)
Hans Zimmer
10m6 Vengeance Fulfilled (1:07)
Hans Zimmer
11m2 Two Companions (3:16)
Hans Zimmer
11m4 Home Again (3:31)
Hans Zimmer
* Used in the film
+ Partially used in the film
Composed by Hans Zimmer
Conducted by Shirley Walker
Additional Music by Fiachra Trench & Shirley Walker
Recorded at Air-Edel Studios, London, England
Recording Engineer: Paul Hulme
Recorded on January 3 & 4, 1991
CD Produced by Douglass Fake
CD Executive Producer: Roger Feigelson
CD Edited & Mastered by Douglass Fake at Intrada, Oakland, California
DDP Mastering by Joe Tarantino, Joe Tarantino Mastering, Berkeley, California
Production Assistant: Regina Fake
Special Thanks to: Mary Ann Fake, Randy Thornton, Desiree Craig, Michael Buckoff, George Champagne, Frank K. DeWald, Jeff Johnson, Wendy Kupsaw, Mark Hammon, Steve Mori & Veronika Schroers
02 – Golden Staircase (2:03)
03 – The Place (2:34)
04 – Death Of Kiche (2:08)
05 – Death Of Kiche (Revised) (1:14)
06 – Wolf Dance (6:48)
07 – Wolf Dance (Revised) (1:55)
08 – Slow Motion Wolves (1:15)
09 – Puppy Things (2:31)
10 – Fang On Sled (0:32)
11 – The River (1:42)
12 – The Bear Attack (3:14)
13 – The Cabin (2:14)
14 – The Cabin (Revised) (0:24)
15 – Mining Montage (0:47)
16 – Pit Fight (1:36)
17 – Jack Bit (2:51)
18 – Bonding (2:11)
19 – Just Friends (1:07)
20 – Gold Test (1:15)
21 – Fang’s Revenge (1:10)
22 – Jack And White Fang (1:04)
23 – Jack Forces Fang Away (1:57)
24 – The Return (3:06)
25 – End Credits (3:51)
26 – Saloon Source (1:24)
27 – Saloon Source (Alternate) (1:19)
28 – Saloon Source #2 (1:37)
29 – Saloon Source #2 (Alternate) (1:32)
30 – Sweet Betsy From Pike (1:36)
02 – The Staircase (2:26)
03 – The Trek Continues (1:51)
04 – Black Wolf (8:31)
05 – Full Moon Wolf Attack (1:20)
06 – Kiche’s Demise (9:40)
07 – Seasons Pass (4:23)
08 – The Bear Attack (2:38)
09 – The Mine (7:34)
10 – Fang With Jack (3:20)
11 – Vengeance Fulfilled (2:51)
12 – Home Again (8:16)
Wow! How did John Powell involved in this project? And did he something significant here in synthesizers programming?
Wow! How did John Powell involved in this project? And did he something significant here in synthesizers programming?
As I understand it, the filmmakers pushed hard to get a more contemporary sound to the score, and while Basil Poledouris is no slouch at that kind of thing (just listen to his Wind score, which is amazing), I guess they ultimately ended up "soft rejecting" what he wrote and got Zimmer to come in and stop the gaps. I've never seen the movie, but from what I've read, it uses portions of both scores; mostly Poledouris for the themes and Zimmer for the action music.
It certainly sounds like a weird situation!
(Oh, and by the way, the sequel score for White Fang 2: Myth of the White Wolf, an early-career effort by John Debney, is really good! Better than either the Poledouris or the Zimmer.)
As I understand it, the filmmakers pushed hard to get a more contemporary sound to the score, and while Basil Poledouris is no slouch at that kind of thing (just listen to his Wind score, which is amazing), I guess they ultimately ended up "soft rejecting" what he wrote and got Zimmer to come in and stop the gaps. I've never seen the movie, but from what I've read, it uses portions of both scores; mostly Poledouris for the themes and Zimmer for the action music.
It certainly sounds like a weird situation!
(Oh, and by the way, the sequel score for White Fang 2: Myth of the White Wolf, an early-career effort by John Debney, is really good! Better than either the Poledouris or the Zimmer.)
I guess the MV formula worked really well for those guys… Powell, Mancina, HGW, what a dream team! But in Zimmer's case I find it even more impressive, because he started the whole thing himself, without this kind of studio to get him visibility (as far as I know, at least).
As for Junkie XL… for reasons you probably know, I think he's a totally different story (and with much less merits).
Next ones I've got to discover: K2 and A League of their own. As you probably guessed, I'm back in full fanboy-mode, I'm tired of waiting for new HZ releases and for the final concert, so I'm digging into the past! :-p
I guess the MV formula worked really well for those guys… Powell, Mancina, HGW, what a dream team! But in Zimmer's case I find it even more impressive, because he started the whole thing himself, without this kind of studio to get him visibility (as far as I know, at least).
As for Junkie XL… for reasons you probably know, I think he's a totally different story (and with much less merits).
Next ones I've got to discover: K2 and A League of their own. As you probably guessed, I'm back in full fanboy-mode, I'm tired of waiting for new HZ releases and for the final concert, so I'm digging into the past! :-p
So what is the story with this score. Was Hans brought in to save the day here? Did they leave Basils name because of his main theme?
So what is the story with this score. Was Hans brought in to save the day here? Did they leave Basils name because of his main theme?
There's quite a few, really. I mean, David Arnold totally came out of nowhere in the mid-90s (and has since returned to nowhere, sadly). Danny Elfman's rise around the same time as Zimmer's was just as meteoric.
I'm not actually so sure about HGW, for that matter. He didn't get any really big assignments on his own until arguably Spy Game in 2001; he did a lot of collaborative work before then but usually played second fiddle to someone else (Rabin or Powell or Hans himself). Mark Mancina might be a better example for MV, coming out of pretty much nowhere to do a huge action movie like Speed. Or even Powell himself: Face/Off is a hell of a big movie to debut on!
There's quite a few, really. I mean, David Arnold totally came out of nowhere in the mid-90s (and has since returned to nowhere, sadly). Danny Elfman's rise around the same time as Zimmer's was just as meteoric.
I'm not actually so sure about HGW, for that matter. He didn't get any really big assignments on his own until arguably Spy Game in 2001; he did a lot of collaborative work before then but usually played second fiddle to someone else (Rabin or Powell or Hans himself). Mark Mancina might be a better example for MV, coming out of pretty much nowhere to do a huge action movie like Speed. Or even Powell himself: Face/Off is a hell of a big movie to debut on!