Scott Pilgrim Song Hello Again Friend of a Friend
| Scott Pilgrim vs. the Earth: Original Movement Picture Soundtrack | ||||
|---|---|---|---|---|
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| Soundtrack anthology by various artists | ||||
| Released | August 10, 2010 (2010-08-10) | |||
| Genre |
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| Length | 56:55 65:59 (deluxe edition) | |||
| Characterization | ABKCO | |||
| Edgar Wright film soundtrack chronology | ||||
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| Nigel Godrich production chronology | ||||
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| Scott Pilgrim vs. the Globe: Original Score | ||||
|---|---|---|---|---|
| Picture score by Nigel Godrich | ||||
| Released | August 10, 2010 (2010-08-10) | |||
| Genre | Score | |||
| Length | 65:12 | |||
| Characterization | ABKCO | |||
| Nigel Godrich composition chronology | ||||
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Ii soundtrack albums were released for the move motion-picture show Scott Pilgrim vs. the World: an original soundtrack and an original score. Music producer Nigel Godrich, film director Edgar Wright, and film producer Marc Platt executive produced both soundtracks, with Godrich also composing the original score. The soundtrack includes music by Brook, Cleaved Social Scene, Metric, Blackness Lips, T. Rex, the Rolling Stones, Frank Black and Plumtree. They were released on August x, 2010; the original score only on digital download. A 2021 re-release saw boosted music by Brie Larson added to the soundtrack, and a physical version of the score.
The film follows a battle of the bands plot, with the fictional bands each based on a different real music act; product of the soundtrack began several years before the pic'south release. Though several of the moving picture's actors (those in the fictional bands Sex Bob-Omb and Crash and the Boys) perform on the soundtrack, the film did not look to cast musicians, but lead thespian Michael Cera could play bass guitar like his character. The actors for the fictional band the Clash at Demonhead recorded for their music, but were non included on the soundtrack album except as a bonus music video. A vocal performed past thespian Satya Bhabha is included on the score, rather than the soundtrack.
Other songs included are more often than not from Canadian and British acts, influenced by British producer and managing director Wright, and the Scott Pilgrim graphic novel's Canadian author Bryan Lee O'Malley. The soundtrack was released on the characterization ABKCO Records, which as well immune the use of a song by the Rolling Stones for the moving-picture show and album.
The soundtrack peaked at number ii on the U.South. Billboard soundtrack nautical chart, also charting in other countries. It received generally positive reviews; the original song "We Are Sex Bob-Omb" won a critics' award and was nominated for two others.
Background and production [edit]
Music is an important element of the Scott Pilgrim story, with chord progressions for a vocal existence performed by the characters first appearing on page 15 of the beginning graphic novel.[ane] Music producer Nigel Godrich oversaw the music for the picture show, which he was nervous virtually because of how bad bands in films usually look and sound, sentiments echoed by pb actor Michael Cera. While working on the moving picture, Godrich said that he would have to ask himself "is this as good every bit Spinal Tap?"[two] Godrich became involved with the soundtrack when Wright, who had been a friend for many years, called him request for recommendations on a music producer who could handle both the soundtrack and score.[3]
Brook wrote many songs for the soundtrack, and was the creative basis of the fictional band Sex Bob-Omb.
Interviewed past Den of Geek, Edgar Wright said that he and Godrich "worked on the soundtrack for about 2 years [with] this idea that each of the fictional bands within the film should have a unlike artist doing them. And then, it was sort of like casting. [...] And nosotros merely, basically, scarlet picked our ultimate fantasy list of bands to do it."[4] Michael Cera, who plays Scott Pilgrim, said that he was excited to work with Godrich; actors Cera, Marker Webber, Alison Pill, and Johnny Simmons all recorded music for the soundtrack as their characters' band, Sex Bob-Omb. Cera could already play the bass guitar, Scott's musical instrument, but Webber, Pill, and Simmons had to learn their instruments[iv] [v] and were coached by Sloan's Chris Murphy;[vi] Wright has said that the production'south casting did not look for musicians in particular.[vii] Though Godrich had initially reached out to the Black Lips to become Sexual activity Bob-Omb,[i] and Times New Viking were as well considered,[8] the band'south music was based on Beck, who wrote their original songs and contributed others to the soundtrack.[4] Beck was also worried virtually his contributions, saying that "the problem you come across in films near garage bands or fledgling bands is that yous tin can tell how pro the music is, it doesn't experience genuine. All I had to become on was the comic book. When I was writing the songs, I was looking at frames from the comic volume."[ii] In recording, Webber, who "had never played guitar or sung before in his life", had to tape over Beck'south vocals with his own.[iv] The fictional band Crash and the Boys, which has songs on the soundtrack, is based on Broken Social Scene, with Crash'south actor Erik Knudsen likewise singing; some other group in the motion picture is the Disharmonism at Demonhead, based on Metric and fronted past actress and vocalist Brie Larson equally Green-eyed Adams (herself based on Metric'southward front-woman Emily Haines), with only Metric on the soundtrack.[i]
Godrich reflected on the soundtrack production and the involvement of these big acts, saying that "It'southward i of those things where it might be meliorate to just not hear any music and to leave it to your imagination. Then information technology will be equally adept as information technology volition ever be. But once a few inquiries were fabricated, and it was clear that we could maybe become those people to contribute, it was an exciting prospect."[1] Many of the cast recordings were fabricated at the home studio of Metric's Jimmy Shaw; the band had become friends with Wright when he moved to Toronto for pre-product.[3]
The second vocal on the soundtrack is "Scott Pilgrim" by Plumtree, the song that inspired the name of the championship grapheme. Bryan Lee O'Malley, the graphic novel author, was insistent on having the song included on the soundtrack; it is one of two Plumtree songs featured in the picture, and though the band is obscure, they are a favorite of O'Malley's. Similarly, Wright chose to include a version of Frank Blackness'south "I Heard Ramona Sing", one of his favorites, because of how much he used to listen to it when he was infatuated with a girl, long before production of the film, and the coincidence that information technology matched the principal love interest's name. Some other O'Malley choice is the Beachwood Sparks version of "By Your Side", which was on the list of songs he compiled to back-trail the beginning Scott Pilgrim graphic novel; Wright as well joked that he owed the original writers of the vocal, Sade, "some publishing money" afterwards having had his characters in Shaun of the Dead use a Sade anthology to fend off zombies.[1] In his graphic novel playlist, O'Malley describes "By Your Side" as "a swirly cosmic countrified embrace of a Sade vocal. Information technology'southward the ultimate Scott Pilgrim beloved song."[9] Also on the playlist was "Sleazy Bed Track" by The Bluetones, which then inspired Wright to propose including a song by Blood Red Shoes, a band with a similar sound. Both "Sleazy Bed Track" and Blood Red Shoes' "It's Getting Boring by the Sea" are used.[one]
A rehearsal of "We Are Sex Bob-Omb" portrayed in Bryan Lee O'Malley'due south graphic novel (left). Lyrics, chord progressions and fingering charts are shown betwixt the panels and in an inset box (right).
Beck and collaborator Brian LeBarton worked on all of the Sex Bob-Omb songs, of which half dozen are included on the original soundtrack. They wrote and recorded all of the songs over a few days in 2008;[1] in 2020, Wright said that "Beck wrote 32 Sex activity Bob-Omb songs in 32 hours".[10] They were recorded just as quickly on viii-rails tape, and left rough.[iii] Lyrics for the championship rail "We Are Sex Bob-Omb", sung by Webber, were merely added afterwards when the product decided to use it for the opening titles.[1] The song "We Are Sex Bob-Omb" had originally been written in the beginning graphic novel, where O'Malley "not but lays out all the lyrics they're singing for the reader, but likewise provides chord progressions, charts for fingerings and fifty-fifty the time signature and feel" of the song.[xi]
The graphic novels noted that Crash and the Boys' songs are three seconds long, which Godrich took as defining precisely what kind of ring and sound that makes them. Knudsen recorded the lyrics for their two songs (Broken Social Scene had written iv, but two were not used); O'Malley recalled that Knudsen'due south favorite band is Broken Social Scene, and that the histrion was thrilled to be working with Kevin Drew from the band for the film.[1] Cleaved Social Scene were asked to create Crash and the Boys' songs "because they had get friends of [Wright and Godrich] in Toronto".[3] The curt and loud music mode is different to Broken Social Scene, but Wright described the band as versatile and suggested that they had taken inspiration from Napalm Death and similar music they had listened to every bit teenagers.[3]
The soundtrack features a version of the Metric song "Black Sheep" with Haines every bit lead singer, per the band'southward request,[12] though information technology is sung by actress Larson, also a musician, every bit the Disharmonism at Demonhead'due south vocalist Green-eyed Adams in the moving picture.[i] [half-dozen] [13] Metric had performed the vocal in concert every bit early as 2007, but had not released it earlier this soundtrack.[14] [xv] An instrumental was besides done of the Clash at Demonhead's bass player Todd Ingram, portrayed by Brandon Routh, for the song, just this was non used in the film. Routh spent "three or iv months" learning to play bass for the pic.[iv]
For the Sex activity Bob-Omb song "Ramona", Wright gave Beck the prompt to "do an acoustic song that only uses the lyrics 'Ramona, oh my my Ramona'": Brook wrote numerous versions, of elementary songs, with the one played by Cera in the picture being one of the about complex.[1]
The Rolling Stones' "Under My Thumb" was also used in the film and on the soundtrack; the rights to this song are owned by ABKCO Records, who learned about the pic when the production were trying to utilize the song. Wright says that ABKCO so saw a cutting of the film and wanted to let them use it, which was as well influenced by Godrich using his friends' band The Hotrats to record a cover that they all agree was uncomfortably close to the original. ABKCO then joined the project to release the soundtracks.[1] While it is used for narrative purposes in the motion-picture show, it is also said to exist Wright'due south favorite Rolling Stones vocal.[16]
The original score contains some of the melodies written by O'Malley for the graphic novels, every bit well every bit songs by Dan the Automator and Cornelius.[8] These include the Bollywood-inspired vocal performed past thespian Satya Bhabha as Matthew Patel and the electronic number given to the Katayanagi Twins band for their fights confronting Scott.[17] [18]
Music [edit]
The soundtrack contains a mix of classic rock, culling stone, indie, garage and postal service-punk.[19] [20]
Sex Bob-Omb's sound is that of a sloppy garage rock grouping, and Matt Burdick describes Webber'south vocals as lead singer Stephen Stills to be "yelpy".[21] The commencement vocal of the flick and soundtrack is Sex Bob-Omb's title vocal, "Nosotros Are Sexual practice Bob-Omb", which plays over the opening titles and is described equally a "fuzzed-up, sloppy rocker" by Todd Martens of the Los Angeles Times [i] and "raw, down and dirty" by The Playlist 's Rodrigo Perez.[16] The BBC'south Mike Diver writes that the song "roars and swaggers".[13] Wright said of that song that "you can hear [...] that the bass drops out. The drumming rhythms change constantly because they're just hammering away."[1] Godrich explained that the vocal was given to them as a short instrumental, and that they chose to utilize and extend it considering it is "riffy" – Beck was surprised that they wanted to use it.[1]
The band'south song "Garbage Truck" is described past Perez as a "elementary, mid-tempo stompy punk-fuzz number"[16] and by Martens as a "sludgy anthem [that] is a mix of self-deprecating humor and misfit pride".[one] While considering it to have a critical role in the picture, Martens notes that its distorted levels can strain home sound systems. Webber sings the lead vocals, with a version sung by Beck included as a bonus rail on the deluxe soundtrack. Wright constitute that Webber and Beck assorted sharply in their delivery of the lyrics, with Brook's blending into the mix, every bit he had intended. As with "We Are Sex Bob-Omb", Beck has said he was surprised that the song was called.[1] "Summertime", nonetheless, has clear lyrics; Beck again expressed surprise, hither because he felt the song most represented Sex Bob-Omb'south sound, due to its looseness, only it was mainly used over the endmost credits. Wright had explained that at different points in production, the song was going to be in different parts of the pic, but those cuts did not piece of work.[1]
"Threshold", which is used near the end of the film, is described by Martens every bit "one of the choppiest, roughest Sex Bob-Omb songs in the pic" which accelerates into the chorus with an effects-laden acoustic-electrical guitar.[1] Perez notes its distortion and feedback, calling it "wobbly punk rock".[sixteen] The vocal comes from an thought of what O'Malley imagined Sex Bob-Omb to be, from an experience in a band with a friend whose heavily distorted audio-visual guitar would "really upset [the sound guy; that's] what they were originally looking like."[1] Brook worked from the comics while composing the songs, imagining Stephen Stills to be like Kim Deal, who uses feedback to amplify her acoustic guitar with The Breeders.[ii] Beck said of "Threshold" that he felt bad for giving such a rough song to the producers, merely also "proud that some of the bad notes were left in there. I think things tend to get scrubbed for Hollywood films, just this was relatively less-polished."[1] An 8-scrap version of "Threshold" past Brian LeBarton is besides included on the soundtrack.[1]
The Sexual activity Bob-Omb song "Ramona" is simply included on the soundtrack as 2 original versions performed by Beck, described equally "lovesick longing".[1] An acoustic version of Beck improvising the song uses the same chord progression as the film version, just with a "bumble" 41 seconds in; the orchestral version is longer with a mellotron and strings and some extra lyrics that Beck added shortly before mastering.[ane]
In line with Sex Bob-Omb's sound, Wright had a remix of Frank Black'southward "I Heard Ramona Sing" recorded for the soundtrack. Martens explains that "its choppy opening overlaid with a lilting guitar solo instantly smooths out the frayed offset [and feels] like a daydream" every bit information technology marks the commencement of Scott'southward obsession with Ramona.[1] Similarly, the Blackness Lips' "O Katrina!", in the film and on the soundtrack, is described by the producers to have the feel of a Sexual practice Bob-Omb vocal.[1] Martens writes that "Sleazy Bed Track" has a "downbeat groove and depressed lyrics [that] hint that non all will be so sugariness", and that the version of "It'due south Getting Slow By the Ocean" used has a "sharp guitar opening [that] suits the fight-like atmospheres of the pic".[ane] Perez calls "It's Getting Tedious Past the Body of water" a "spunky track [with] the exact energy you might expect from this film".[16]
Crash and the Boys accept two songs on the soundtrack and are said to exist "fast, aroused and with a too-cool-for-you look" and a metal sound,[one] with Mike Katzif calling their songs "brash, distorted, 1-infinitesimal blasts".[11] Glen Chapman said that Broken Social Scene's songs for Crash and the Boys "are nearly unrecognisable from their epic pop sensibilities that typify their output".[6] Cleaved Social Scene contributed some of their own songs too, including their signature song "Anthems for a Seventeen-Twelvemonth-Old Daughter", which gradually adds instruments to the arrangement backside rounds of vocals by Haines. Martens found that it invites the listener to sing along, despite its "nostalgic tone".[1] Haines told Martens that the vocal is "about the pains of growing upwards, and wanting and trying to simplify your life so you can savour what'southward valuable [...] information technology's most taking away all the distractions, that's the adult viewpoint."[one]
Other previously released songs include "Scott Pilgrim", which barely features in the film; Martens notes it for an "alt-rock chaff to the guitars, and a naive excitement to the vocals".[1] "Past Your Side" is described by Martens as a "lovesick wearisome dance of a tune, with bedside vocals and a romantically melancholic harmonica",[1] and Perez called information technology an "atmospheric, harmonica-laden" song that "has that wistful and bittersweet feeling that [the soundtrack and film are] chasing in its introspective moments".[16] Another established song on the soundtrack is T. Rex's "Teenage Dream". Wright chose to include the vocal, saying:[1]
This is one of my favorite T-Rex songs. It'southward epic. It made me think of Knives. It sounds like a missing vocal from Grease. It'south and then lush and symphonic. I'm evidently a large T-Male monarch fan, but that song is so thousand. It spoke to me as how we feel when nosotros are 17 and accept been dumped. You need a song that sounds similar the finish of the world.
The Metric song "Black Sheep" included on the soundtrack is said by Haines to be like a caricature of Metric, that "aspects of the song, the electro aspects of the band, and the abstruse lyrical visualizations, are extreme examples of certain aspects of [the band]". Godrich noted that because of this the song "was perfect for this film. It's not Metric. It's a shadow of Metric."[ane] Music writer Kirk Hamilton, of Kotaku, notes the differences in Larson and Haines's versions, saying that Larson's take is "sassier and a bit less rocking, and in that style, more appropriate to Envy'south character";[22] Aoife Fealy for The Arcade wrote that Haines's vocals take a "star-gazy grunge edge", compared to Larson's "suave and sultry vocals" equally Green-eyed.[23] The Metric instrumental for the track that is used in the film is likewise a dissimilar version to the soundtrack: in the film it is more sinister and has an extended intro with Larson singing "Oh yeah" on repeat to serve the story in the scene,[1] while the soundtrack has a "heavier undertone".[23]
James McMahon described the original score every bit "a more than ethereal heed than the main soundtrack",[8] and Mike Katzif said that it "recalls the chiming ambience music of Brian Eno or the kinetic electro-stone of Daft Punk", as well as pulling tones from video games and using elements of chiptune music.[eleven] Glen Chapman wrote of some of the score pieces that "in that location's a tedious build with some beautiful tracks that sound like Sigur Rós' Untitled pieces and elements of Cleaved Social Scene's debut album, Experience Good Lost ".[half dozen] The musical cues of Beck-composed Sex Bob-Omb song "Threshold" besides appear within parts of the score, which Chapman found to reverberate the anthemic nature of the song for the band.[vi]
Release [edit]
Scott Pilgrim vs. the World: Original Movement Picture Soundtrack was released on August 10, 2010, by ABKCO Records on vinyl and compact disc.[24] [25] [26] [27] A deluxe version of the soundtrack was also released.[24] People who pre-ordered the album on iTunes, or who purchased the deluxe version, received a bonus video of the film version of Metric's "Black Sheep" sung past Larson.[24] [28] [29] A music video of Sexual activity Bob-Omb performing "Summertime", intended to stop the film but later removed, is included on the DVD,[1] and some of Beck'southward original Sex Bob-Omb tracks were made available as iTunes downloads.[2]
Scott Pilgrim vs. the World: Original Score Composed by Nigel Godrich was also released on Baronial 10,[30] exclusively to streaming,[1] [xi] though Wright did suggest it would be a second disc included with the soundtrack.[8] Wright said that he was "actually pleased with the songs that nosotros have in the picture show, and I'one thousand actually pleased with Nigel's score, because information technology's the first score that he's always done. I recollect information technology sounds amazing."[4]
In 2011, four unreleased Sex Bob-Omb songs were published online, including "Indefatigable", recorded by the actors and briefly used in the moving-picture show, and Beck recordings of songs called "No Fun", "Disgusting Rainbow" and "Gasoline Eyes".[31]
A new version of the album, including unreleased tracks, was announced on the film's 10th anniversary. On vinyl, the soundtrack will have "a whole new side". As well as adding songs to the soundtrack, the score volition receive a physical release; in 2010 it had simply been a digital download.[three] Unreleased tracks on the re-release include more versions of the Beck song "Ramona",[3] and Brie Larson's version of "Black Sheep".[32] Wright tweeted that there will be 24 minutes of new songs.[33] The expanded soundtrack and score were released as a box prepare of iv picture discs on March 26, 2021, as the Seven Evil Exes Limited Edition; the score was also released on vinyl on the same engagement.[34] A digital release, subtitled the expanded edition, is scheduled for July 9, 2021.[35] [36]
Reception [edit]
| Aggregate scores | |
|---|---|
| Source | Rating |
| Metacritic | 68[27] |
| Review scores | |
| Source | Rating |
| AllMusic |   [26] |
| Chicago Tribune | [37] |
| Event of Sound | [38] |
| Drowned in Sound | 8/10[39] |
| Entertainment Weekly | B[40] |
| One Thirty BPM | 79%[41] |
| Pitchfork | 6.seven/x[17] |
| PopMatters | 6/10[42] |
| PopSugar | Favorable[43] |
| Punknews.org | [44] |
| Rolling Stone |  [45] |
| Seattle P-I | [46] |
Online music database AllMusic gave the soundtrack a positive review,[26] and Den of Geek said that the picture has "one of the best soundtracks of the yr".[4] MTV shared this cess and particularly praised the Sexual activity Bob-Omb songs.[47] Common Sense Media gave information technology a 3 out of 5 star rating, finding the soundtrack more than child-appropriate than the film for its absurdist but not-explicit linguistic communication, common to alt-stone.[48]
The AllMusic review said that "soundtracks to movies adapted from comic books are often marketing free-for-alls", noting how promotional considerations often override the thematic coherence of the film, merely that this "[could not] be further from the truth for Scott Pilgrim vs. the World 'southward music."[26] Drowned in Sound added that "with a soundtrack that captures the spirit of the comics with such fervency, conviction and discipline, Scott Pilgrim vs The World looks fix to exist a lot less dislikable than you might've hoped."[39]
Matthew Perpetua for Pitchfork likewise noted the accommodation, saying that "for the most role, Wright and his collaborators nailed it".[17] Perpetua felt that while Brook's songs may be a bit too good for Sex Bob-Omb, he successfully "captures the ramshackle energy unsaid in the comics", only notes that the picture versions are more enjoyable than the Beck versions on the soundtrack due to Beck sounding also professional for the "scrappy" songs.[17] He comments more on the Crash and the Boys music, similarly saying that Cleaved Social Scene "hit their marking in terms of conveying the humor of frantic under-1-minute numbers" but that he finds the songs also plain for the fictional band "that ought to be far more than weird and unreal" due to the musical superpowers they have in the graphic novel.[17] Affect's Matt Burdick likewise idea the soundtrack would have been ameliorate had a Crash and the Boys vocal from the comics called "Concluding Song Kills The Audience" been included.[21]
Den of Geek's Glen Chapman wrote that the Disharmonism at Demonhead performing "Metric'due south 'Black Sheep' is the closest to what [he] imagined any of the bands would audio" similar based on the comics; he said that he is disappointed that Larson'south version was not on the soundtrack.[6] He likewise expressed disappointment that a particular song from the film, Holy Fuck's "Latin", was not on the soundtrack.[6]
Entertainment Weekly gave the album a B rating, praising the song "Garbage Truck",[40] while Rolling Stone gave a more than mixed review, stating that the contributions of Beck and Cleaved Social Scene were non strong and that "the charm of those songs fades outside the picture show".[45] Perpetua besides felt that they were unnecessary, but were nice songs and contributed to the blueprint of the comic world in the music.[17] Even so, Chapman noted that he listened to the soundtrack earlier he watched the flick and that it works in isolation from the flick where other soundtracks do not, adding that it "plays out similar a very strong, near perfect mix tape". He found that the previously released songs were "splendid [and] absolutely appropriate for the scenes they accompany, both lyrically and musically [...] and, as such, none of the [soundtrack] inclusions are superfluous to requirements."[six]
Writing for The Guardian, James McMahon noted Wright's intendance in curating his film soundtracks, and said that people going to see the film "[could] have a new favourite soundtrack to cherish", that the "soundtrack raises the bar for movie music".[8] NPR'due south Mike Katzif discussed the soundtrack and concluded: "what makes this all then much fun to me is that information technology tries something a footling different. Where most soundtracks autumn into a standard, even boring format – the mixtape compilation – Scott Pilgrim'south filmmakers score major bonus points for creating something that allows the music to be as crucial to the motion-picture show-watching experience as information technology is in the comics."[eleven]
Regarding the score, Chapman said that information technology is as strong every bit the soundtrack and an equal accompaniment to the film, last that "the score is a work of genre-defying madness that utilises an assortment of musical styles to enhance the mood of the piece. From the aforementioned melancholic mail rock to up-tempo dance pieces, this is a varied but highly effective debut score that's an interesting break from the orchestral scores that take accompanied much of the year's biggest pictures."[vi]
Accolades [edit]
The song "We Are Sexual practice Bob-Omb" won the 2010 Houston Film Critics Social club Honor for Best Original Song,[49] and was nominated for the 2010 Las Vegas Moving-picture show Critics Guild Sierra Honor for All-time Song[50] and the 2011 Online Film & Tv set Clan Accolade for Best Original Song.[51]
Information technology was listed as number 4 of the 40 greatest film soundtracks past The Independent,[52] and was on AltPress'due south list of 16 fantastic soundtracks.[53]
Runway listings [edit]
Soundtrack [edit]
| No. | Championship | Writer(south) | Artist(s) | Length |
|---|---|---|---|---|
| 1. | "We Are Sex Bob-Omb" | Beck Hansen | Sexual practice Bob-Omb (Michael Cera, Alison Pill, Mark Webber, Beck and Brian LeBarton) | 2:00 |
| ii. | "Scott Pilgrim" | Lynette Gillis, Catriona Sturton, Amanda Bidnall, Carla Gillis | Plumtree | 3:02 |
| 3. | "I Heard Ramona Sing" | Charles Thompson | Frank Black | three:forty |
| 4. | "By Your Side" | Paul Denman, Andrew Hale, Sade, Stuart Matthewman | Beachwood Sparks | 4:57 |
| 5. | "O Katrina!" | Ian St. Pe, Joe Bradley, Jared Swilley, Cole Alexander | Black Lips | ii:51 |
| 6. | "I'yard So Sad, So Very, Very Sad" | Ohad Benchetrit, Kevin Drew, Brendan Canning, Charles Spearin | Crash and the Boys (Broken Social Scene and Erik Knudsen) | 0:13 |
| 7. | "We Hate You Delight Die" | Benchetrit, Drew, Canning, Spearin | Crash and the Boys | 0:59 |
| eight. | "Garbage Truck" | Hansen | Sex Bob-Omb | i:44 |
| 9. | "Teenage Dream" | Marc Bolan | T. Rex | 5:45 |
| ten. | "Sleazy Bed Runway" | Mark James Morris, Scott Edward Morris, Edward Daniel Chestor, Adam Patrick Devlen | The Bluetones | 4:36 |
| 11. | "It'southward Getting Boring by the Body of water" | Laura Carter, Steven Ansell | Blood Red Shoes | 2:56 |
| 12. | "Blackness Sheep" | Emily Haines, James Shaw | Metric | 4:56 |
| 13. | "Threshold" | Brook Hansen | Sexual practice Bob-Omb | 1:47 |
| 14. | "Anthems for a Seventeen Year-Sometime Girl" | Drew, Canning, Justin Peroff, Spearin, Haines, John Crossingham, Shaw, Jessica Moss | Broken Social Scene | 4:36 |
| fifteen. | "Nether My Thumb" | Mick Jagger, Keith Richards | The Rolling Stones | 3:41 |
| 16. | "Ramona" (audio-visual version) | Hansen | Beck | 1:02 |
| 17. | "Ramona" | Hansen | Beck | four:22 |
| 18. | "Summertime" | Hansen | Sex Bob-Omb | two:x |
| 19. | "Threshold" (8-chip version) | Hansen | Brian LeBarton | 1:48 |
| No. | Title | Writer(due south) | Artist(s) | Length |
|---|---|---|---|---|
| twenty. | "Garbage Truck" | Hansen | Beck | 1:48 |
| 21. | "Threshold" | Hansen | Beck | 1:43 |
| 22. | "Summertime" | Hansen | Beck | 2:09 |
| No. | Championship | Writer(s) | Creative person(s) | Length |
|---|---|---|---|---|
| twenty. | "Black Sheep" (Brie Larson vocal version) | Haines, Shaw | Metric featuring Brie Larson | 4:54 |
| 21. | "No Fun" | Hansen | Sexual activity Bob-Omb | |
| 22. | "Garbage Truck" | Hansen | Brook | i:48 |
| 23. | "Threshold" | Hansen | Beck | 1:43 |
| 24. | "Indefatigable" | Hansen | Sex Bob-Omb | |
| 25. | "Go!" | 50. Gillis, Sturton, Bidnall, C. Gillis | Plumtree | |
| 26. | "Ramona" (acoustic demo idea i) | Hansen | Brook | |
| 27. | "Ramona" (acoustic demo idea two) | Hansen | Brook | |
| 28. | "Ramona" (acoustic demo idea iii) | Hansen | Beck | |
| 29. | "Ramona" (Mellotron) | Hansen | Beck | |
| thirty. | "Summer" | Hansen | Beck | ii:09 |
| 31. | "Enter Goddess" | Koji Kondo | Nigel Godrich |
Score [edit]
| No. | Title | Writer(south) | Artist(s) | Length |
|---|---|---|---|---|
| 1. | "Universal Theme" | Jerry Goldsmith | Nigel Godrich | 0:21 |
| 2. | "Hillcrest Park" | Godrich | Godrich | iv:04 |
| iii. | "Fight!" | Godrich | Godrich | 2:52 |
| 4. | "Slick (Patel'southward Vocal)" (featuring Satya Bhabha) | Dan the Automator, Bryan Lee O'Malley | Dan the Automator | i:39 |
| 5. | "Love Me Some Walking" | Godrich | Godrich | four:02 |
| vi. | "Talk to the Fist" | Godrich | Godrich | 1:03 |
| vii. | "Rumble" | Godrich | Godrich | i:58 |
| viii. | "Feel the Wrath" | Godrich | Godrich | 1:25 |
| 9. | "The Grind" | Godrich | Godrich | 0:35 |
| x. | "Hello Envy" | Godrich | Godrich | 0:49 |
| 11. | "Mystery Attacker" | Godrich | Godrich | 1:12 |
| 12. | "2d Loving cup" | Godrich | Godrich | 1:50 |
| 13. | "The Vegan" | Godrich | Godrich | iv:05 |
| 14. | "Bass Boxing" (featuring Jason Falkner and Justin Meldal-Johnsen) | Godrich | Godrich | 1:45 |
| 15. | "Sad I Guess" | Godrich | Godrich | 1:11 |
| 16. | "Roxy" | Godrich | Godrich | 5:34 |
| 17. | "The Ninth Circle" | Godrich | Godrich | 0:51 |
| 18. | "Katayanagi Twins vs. Sex activity Bob-Omb" | Beck, Cornelius | Beck & Cornelius | three:09 |
| xix. | "This Fight Is Over" | Godrich | Godrich | one:21 |
| xx. | "Gideon Calling" | Godrich | Godrich | 1:02 |
| 21. | "Level 7" | Godrich | Godrich | 0:twoscore |
| 22. | "Welcome to Chaos Theatre" | Godrich | Godrich | 1:17 |
| 23. | "Nosotros Are Sex Bob-Omb" (fast) | Beck | Beck & Nigel Godrich | 0:58 |
| 24. | "Fast Entrance Into Hell" | Godrich | Godrich | 0:57 |
| 25. | "Chau Downward" | Godrich | Godrich | one:ten |
| 26. | "Game Over" | Godrich | Godrich | 0:52 |
| 27. | "So Alone" | Godrich | Godrich | 2:00 |
| 28. | "Circular 2" | Godrich | Godrich | 1:25 |
| 29. | "Death to All Hipsters" | Brook | Beck & Nigel Godrich | 0:41 |
| thirty. | "A Different Guy" | Godrich | Godrich | 1:05 |
| 31. | "Boss Battle" | Godrich | Godrich | 2:46 |
| 32. | "Blowing Upward Right Now" | Godrich | Godrich | 0:46 |
| 33. | "Aftermath" | Godrich | Godrich | 1:38 |
| 34. | "Bye and Stuff" | Godrich | Godrich | 2:43 |
| 35. | "Love" | Osymyso | Osymyso | 1:38 |
| 36. | "Ramona" | Osymyso | Osymyso | 1:31 |
| 37. | "Set" | Osymyso | Osymyso | 1:09 |
| 38. | "Ninja Ninja Revolution" | Dan the Automator | Dan the Automator | i:08 |
Personnel [edit]
Credits adapted from Discogs:[55]
- Fine art management: Dale Voelker
- Music production coordinator for ABKCO Records: Teri Landi
- Executive producer: Edgar Wright, Marc Platt
- Executive music producer: Nigel Godrich
- Liner notes: Edgar Wright
- Mastering: Bob Ludwig
- Music executive for Universal Pictures: Mike Knobloch
- Music product for Universal Pictures: Harry Garfield
- Music supervisor: Kathy Nelson
- Thanks: Bryan Lee O'Malley
Chart positions [edit]
| Chart (2010) | Elevation position |
|---|---|
| Australian Albums Chart[56] | 56 |
| Canadian Albums Chart[57] | 20 |
| Greek Albums (IFPI)[58] | 21 |
| U.South. Billboard 200[59] | 24 |
| U.S. Billboard Alternative Albums[lx] | 4 |
| U.Southward. Billboard Tastemakers[61] | 13 |
| U.South. Billboard Summit Soundtracks[62] | 2 |
References [edit]
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External links [edit]
- Scott Pilgrim vs. the World at Metacritic
- Corcoran, Nina (August 13, 2020). "'Scott Pilgrim Vs. The Globe' Is A 2010s Indie Rock Time Capsule". Stereogum. Archived from the original on August 14, 2020. Retrieved August 14, 2020.
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Source: https://en.wikipedia.org/wiki/Scott_Pilgrim_vs._the_World_%28soundtrack%29
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