Scott Pilgrim Vs the World Hello Again Friend of a Friend
| Scott Pilgrim vs. the Globe: Original Film Soundtrack | ||||
|---|---|---|---|---|
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| Soundtrack anthology past various artists | ||||
| Released | August 10, 2010 (2010-08-10) | |||
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| Length | 56:55 65:59 (deluxe edition) | |||
| Label | ABKCO | |||
| Edgar Wright film soundtrack chronology | ||||
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| Nigel Godrich production chronology | ||||
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| Scott Pilgrim vs. the World: Original Score | ||||
|---|---|---|---|---|
| Film score by Nigel Godrich | ||||
| Released | August 10, 2010 (2010-08-10) | |||
| Genre | Score | |||
| Length | 65:12 | |||
| Label | ABKCO | |||
| Nigel Godrich composition chronology | ||||
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Two soundtrack albums were released for the movement 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 too composing the original score. The soundtrack includes music by Beck, Broken Social Scene, Metric, Black Lips, T. Rex, the Rolling Stones, Frank Black and Plumtree. They were released on Baronial ten, 2010; the original score only on digital download. A 2021 re-release saw additional music by Brie Larson added to the soundtrack, and a physical version of the score.
The movie follows a battle of the bands plot, with the fictional bands each based on a dissimilar real music act; production of the soundtrack began several years earlier the film'south release. Though several of the picture show'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 bandage musicians, only lead actor Michael Cera could play bass guitar like his grapheme. The actors for the fictional band the Disharmonism at Demonhead recorded for their music, merely were not included on the soundtrack anthology except equally a bonus music video. A song performed by actor 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 past British producer and director Wright, and the Scott Pilgrim graphic novel's Canadian author Bryan Lee O'Malley. The soundtrack was released on the label ABKCO Records, which also allowed the use of a vocal by the Rolling Stones for the pic and album.
The soundtrack peaked at number 2 on the U.S. Billboard soundtrack chart, also charting in other countries. It received generally positive reviews; the original song "We Are Sexual practice Bob-Omb" won a critics' award and was nominated for two others.
Background and production [edit]
Music is an of import element of the Scott Pilgrim story, with chord progressions for a song being performed by the characters first appearing on folio fifteen of the outset graphic novel.[ane] Music producer Nigel Godrich oversaw the music for the movie, which he was nervous about because of how bad bands in films normally look and sound, sentiments echoed past lead actor Michael Cera. While working on the film, Godrich said that he would accept to inquire himself "is this as good equally Spinal Tap?"[2] Godrich became involved with the soundtrack when Wright, who had been a friend for many years, called him asking for recommendations on a music producer who could handle both the soundtrack and score.[three]
Beck wrote many songs for the soundtrack, and was the artistic ground of the fictional band Sex Bob-Omb.
Interviewed by Den of Geek, Edgar Wright said that he and Godrich "worked on the soundtrack for nearly two years [with] this idea that each of the fictional bands inside the film should have a different creative person doing them. Then, it was sort of like casting. [...] And we just, basically, reddish picked our ultimate fantasy list of bands to practice it."[iv] Michael Cera, who plays Scott Pilgrim, said that he was excited to work with Godrich; actors Cera, Mark 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 instrument, but Webber, Pill, and Simmons had to acquire their instruments[iv] [5] and were coached by Sloan's Chris Murphy;[half-dozen] Wright has said that the production's casting did not expect for musicians in particular.[7] Though Godrich had initially reached out to the Black Lips to become Sex activity Bob-Omb,[i] and Times New Viking were also considered,[8] the band's music was based on Brook, who wrote their original songs and contributed others to the soundtrack.[four] Beck was also worried near his contributions, saying that "the problem you see in films about garage bands or fledgling bands is that you can tell how pro the music is, it doesn't feel 18-carat. All I had to become on was the comic book. When I was writing the songs, I was looking at frames from the comic book."[2] In recording, Webber, who "had never played guitar or sung earlier in his life", had to record over Beck's vocals with his own.[4] The fictional ring Crash and the Boys, which has songs on the soundtrack, is based on Broken Social Scene, with Crash's histrion Erik Knudsen also singing; another group in the flick is the Clash at Demonhead, based on Metric and fronted by actress and singer Brie Larson as Green-eyed Adams (herself based on Metric's front-woman Emily Haines), with just Metric on the soundtrack.[1]
Godrich reflected on the soundtrack production and the involvement of these big acts, saying that "It'due south one of those things where it might exist improve to just not hear whatever music and to get out it to your imagination. Then it will be as good every bit it will always be. Only once a few inquiries were made, and it was clear that we could maybe become those people to contribute, it was an exciting prospect."[1] Many of the bandage recordings were fabricated at the dwelling studio of Metric's Jimmy Shaw; the band had become friends with Wright when he moved to Toronto for pre-production.[three]
The second song on the soundtrack is "Scott Pilgrim" by Plumtree, the song that inspired the name of the title character. Bryan Lee O'Malley, the graphic novel author, was insistent on having the vocal included on the soundtrack; information technology is ane of ii Plumtree songs featured in the film, and though the band is obscure, they are a favorite of O'Malley's. Similarly, Wright chose to include a version of Frank Blackness's "I Heard Ramona Sing", 1 of his favorites, because of how much he used to mind to it when he was infatuated with a girl, long earlier product of the film, and the coincidence that information technology matched the chief love interest's name. Some other O'Malley selection is the Beachwood Sparks version of "Past Your Side", which was on the list of songs he compiled to back-trail the first Scott Pilgrim graphic novel; Wright besides joked that he owed the original writers of the song, Sade, "some publishing coin" after having had his characters in Shaun of the Dead use a Sade album to fend off zombies.[1] In his graphic novel playlist, O'Malley describes "Past Your Side" equally "a swirly cosmic countrified cover of a Sade song. It'southward the ultimate Scott Pilgrim love song."[9] Also on the playlist was "Sleazy Bed Track" past The Bluetones, which then inspired Wright to suggest including a song by Blood Ruddy Shoes, a band with a like sound. Both "Sleazy Bed Track" and Blood Red Shoes' "It's Getting Boring past the Ocean" are used.[1]
A rehearsal of "We Are Sexual practice Bob-Omb" portrayed in Bryan Lee O'Malley's graphic novel (left). Lyrics, chord progressions and fingering charts are shown between the panels and in an inset box (right).
Brook and collaborator Brian LeBarton worked on all of the Sexual practice 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".[x] They were recorded simply as apace on 8-rail tape, and left rough.[3] Lyrics for the title track "We Are Sex Bob-Omb", sung by Webber, were simply added later when the production decided to use it for the opening titles.[one] The song "We Are Sexual activity Bob-Omb" had originally been written in the starting time graphic novel, where O'Malley "not only lays out all the lyrics they're singing for the reader, merely also provides chord progressions, charts for fingerings and even the time signature and feel" of the vocal.[11]
The graphic novels noted that Crash and the Boys' songs are iii seconds long, which Godrich took as defining precisely what kind of band and sound that makes them. Knudsen recorded the lyrics for their two songs (Broken Social Scene had written four, just two were not used); O'Malley recalled that Knudsen's favorite ring is Cleaved Social Scene, and that the actor was thrilled to be working with Kevin Drew from the band for the film.[1] Broken Social Scene were asked to create Crash and the Boys' songs "because they had go friends of [Wright and Godrich] in Toronto".[3] The short and loud music style is different to Broken Social Scene, but Wright described the band as versatile and suggested that they had taken inspiration from Napalm Decease and like music they had listened to as teenagers.[iii]
The soundtrack features a version of the Metric song "Black Sheep" with Haines as lead singer, per the band's request,[12] though it is sung by actress Larson, besides a musician, as the Clash at Demonhead'due south vocaliser Green-eyed Adams in the movie.[1] [6] [xiii] Metric had performed the song in concert equally early as 2007, but had not released it earlier this soundtrack.[14] [xv] An instrumental was also done of the Clash at Demonhead'south bass histrion Todd Ingram, portrayed by Brandon Routh, for the song, but this was not used in the pic. Routh spent "three or four months" learning to play bass for the film.[4]
For the Sex Bob-Omb song "Ramona", Wright gave Beck the prompt to "do an acoustic song that simply uses the lyrics 'Ramona, oh my my Ramona'": Beck wrote numerous versions, of unproblematic songs, with the one played by Cera in the moving picture being one of the most circuitous.[one]
The Rolling Stones' "Under My Pollex" was as well used in the motion-picture show and on the soundtrack; the rights to this song are endemic by ABKCO Records, who learned near the movie when the production were trying to employ the song. Wright says that ABKCO so saw a cut of the motion picture and wanted to let them utilize it, which was also influenced past Godrich using his friends' band The Hotrats to record a cover that they all agree was uncomfortably shut to the original. ABKCO then joined the projection to release the soundtracks.[1] While information technology is used for narrative purposes in the film, it is also said to be Wright'due south favorite Rolling Stones song.[16]
The original score contains some of the melodies written by O'Malley for the graphic novels, likewise as songs by Dan the Automator and Cornelius.[8] These include the Bollywood-inspired vocal performed by actor Satya Bhabha equally Matthew Patel and the electronic number given to the Katayanagi Twins ring for their fights against Scott.[17] [18]
Music [edit]
The soundtrack contains a mix of classic rock, alternative rock, indie, garage and post-punk.[19] [20]
Sex Bob-Omb's sound is that of a sloppy garage rock grouping, and Matt Burdick describes Webber's vocals as atomic number 82 singer Stephen Stills to be "yelpy".[21] The first song of the moving picture and soundtrack is Sex Bob-Omb'southward title vocal, "Nosotros Are Sexual practice Bob-Omb", which plays over the opening titles and is described as a "fuzzed-up, sloppy rocker" past Todd Martens of the Los Angeles Times [ane] and "raw, downward and muddy" by The Playlist 's Rodrigo Perez.[sixteen] The BBC's Mike Diver writes that the song "roars and swaggers".[13] Wright said of that vocal that "you lot can hear [...] that the bass drops out. The drumming rhythms modify constantly because they're only hammering away."[1] Godrich explained that the vocal was given to them as a short instrumental, and that they chose to employ and extend information technology because it is "riffy" – Beck was surprised that they wanted to apply it.[1]
The band's vocal "Garbage Truck" is described past Perez as a "elementary, mid-tempo stompy punk-fuzz number"[sixteen] and by Martens as a "sludgy anthem [that] is a mix of self-deprecating humour and misfit pride".[ane] While because it to accept a disquisitional office in the film, Martens notes that its distorted levels tin can strain home sound systems. Webber sings the lead vocals, with a version sung by Beck included as a bonus track on the deluxe soundtrack. Wright institute that Webber and Beck contrasted sharply in their commitment of the lyrics, with Beck's blending into the mix, as he had intended. As with "We Are Sex Bob-Omb", Beck has said he was surprised that the vocal was called.[1] "Summertime", however, has articulate lyrics; Beck again expressed surprise, here because he felt the song most represented Sex Bob-Omb's sound, due to its looseness, but it was mainly used over the endmost credits. Wright had explained that at different points in production, the song was going to be in unlike parts of the film, simply those cuts did not piece of work.[one]
"Threshold", which is used near the stop of the motion picture, is described by Martens as "one of the choppiest, roughest Sex activity Bob-Omb songs in the picture" which accelerates into the chorus with an effects-laden acoustic-electric guitar.[1] Perez notes its baloney and feedback, calling information technology "wobbly punk stone".[16] The vocal comes from an thought of what O'Malley imagined Sex activity Bob-Omb to be, from an experience in a band with a friend whose heavily distorted acoustic guitar would "really upset [the sound guy; that'southward] what they were originally looking like."[i] Beck worked from the comics while composing the songs, imagining Stephen Stills to exist like Kim Bargain, who uses feedback to amplify her acoustic guitar with The Breeders.[2] Beck said of "Threshold" that he felt bad for giving such a rough song to the producers, but besides "proud that some of the bad notes were left in there. I think things tend to get scrubbed for Hollywood films, but this was relatively less-polished."[1] An viii-bit version of "Threshold" by Brian LeBarton is also included on the soundtrack.[1]
The Sex Bob-Omb song "Ramona" is simply included on the soundtrack as 2 original versions performed past Beck, described as "lovesick longing".[i] An acoustic version of Beck improvising the vocal uses the aforementioned chord progression as the motion-picture show version, only 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.[1]
In line with Sex Bob-Omb'south sound, Wright had a remix of Frank Black's "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 beginning [and feels] like a daydream" as it marks the showtime of Scott's obsession with Ramona.[one] Similarly, the Black Lips' "O Katrina!", in the movie and on the soundtrack, is described by the producers to have the feel of a Sex activity Bob-Omb song.[i] Martens writes that "Sleazy Bed Track" has a "downbeat groove and depressed lyrics [that] hint that not all will be so sweet", and that the version of "Information technology'southward Getting Irksome By the Body of water" used has a "sharp guitar opening [that] suits the fight-like atmospheres of the film".[1] Perez calls "It's Getting Slow By the Ocean" a "spunky track [with] the exact energy y'all might look from this film".[16]
Crash and the Boys have ii songs on the soundtrack and are said to exist "fast, angry and with a too-cool-for-you expect" and a metal sound,[one] with Mike Katzif calling their songs "brash, distorted, one-minute blasts".[11] Glen Chapman said that Broken Social Scene'south songs for Crash and the Boys "are almost unrecognisable from their epic pop sensibilities that typify their output".[6] Cleaved Social Scene contributed some of their own songs besides, including their signature vocal "Anthems for a Seventeen-Year-Erstwhile Girl", which gradually adds instruments to the system behind rounds of vocals by Haines. Martens constitute that it invites the listener to sing along, despite its "cornball tone".[ane] Haines told Martens that the song is "about the pains of growing up, and wanting and trying to simplify your life so y'all tin savour what'due south valuable [...] it's nigh taking away all the distractions, that's the adult viewpoint."[1]
Other previously released songs include "Scott Pilgrim", which barely features in the flick; Martens notes information technology for an "alt-rock crust to the guitars, and a naive excitement to the vocals".[one] "By Your Side" is described by Martens every bit a "lovesick ho-hum trip the light fantastic toe of a tune, with bedside vocals and a romantically melancholic harmonica",[one] and Perez called it an "atmospheric, harmonica-laden" song that "has that wistful and bloodshot 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 song, saying:[1]
This is ane of my favorite T-King songs. Information technology'southward epic. It made me think of Knives. Information technology sounds like a missing song from Grease. It'due south and so lush and symphonic. I'yard obviously a big T-Rex fan, just that song is so grand. It spoke to me as how nosotros feel when we are 17 and have been dumped. You need a vocal that sounds like the end of the globe.
The Metric song "Blackness 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 abstract lyrical visualizations, are extreme examples of certain aspects of [the band]". Godrich noted that because of this the vocal "was perfect for this film. It'due south not Metric. It'southward a shadow of Metric."[1] 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 way, more appropriate to Envy'due south character";[22] Aoife Fealy for The Arcade wrote that Haines's vocals accept a "star-gazy grunge edge", compared to Larson's "suave and sultry vocals" every bit Green-eyed.[23] The Metric instrumental for the track that is used in the film is also a different version to the soundtrack: in the moving-picture show information technology is more sinister and has an extended intro with Larson singing "Oh yeah" on repeat to serve the story in the scene,[one] while the soundtrack has a "heavier undertone".[23]
James McMahon described the original score every bit "a more ethereal heed than the principal soundtrack",[8] and Mike Katzif said that it "recalls the chiming ambient music of Brian Eno or the kinetic electro-rock of Daft Punk", as well equally pulling tones from video games and using elements of chiptune music.[xi] Glen Chapman wrote of some of the score pieces that "there's a deadening build with some beautiful tracks that sound like Sigur Rós' Untitled pieces and elements of Cleaved Social Scene's debut album, Feel Practiced Lost ".[six] The musical cues of Beck-composed Sex activity Bob-Omb song "Threshold" besides appear within parts of the score, which Chapman institute to reflect the anthemic nature of the song for the band.[6]
Release [edit]
Scott Pilgrim vs. the World: Original Move Flick Soundtrack was released on August 10, 2010, by ABKCO Records on vinyl and meaty disc.[24] [25] [26] [27] A palatial 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 by Larson.[24] [28] [29] A music video of Sex Bob-Omb performing "Summertime", intended to end the film simply later removed, is included on the DVD,[ane] and some of Beck's original Sex Bob-Omb tracks were made available as iTunes downloads.[2]
Scott Pilgrim vs. the Earth: Original Score Composed past Nigel Godrich was also released on August x,[30] exclusively to streaming,[1] [11] though Wright did advise it would be a second disc included with the soundtrack.[8] Wright said that he was "really pleased with the songs that we have in the film, and I'thousand really pleased with Nigel's score, because it's the first score that he's always washed. I think it sounds amazing."[four]
In 2011, four unreleased Sex Bob-Omb songs were published online, including "Indefatigable", recorded by the actors and briefly used in the film, and Beck recordings of songs chosen "No Fun", "Icky Rainbow" and "Gasoline Optics".[31]
A new version of the album, including unreleased tracks, was appear on the pic'due south tenth anniversary. On vinyl, the soundtrack will have "a whole new side". Too equally adding songs to the soundtrack, the score will receive a concrete release; in 2010 it had simply been a digital download.[iii] 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 at that place will be 24 minutes of new songs.[33] The expanded soundtrack and score were released as a box prepare of four movie discs on March 26, 2021, equally the Seven Evil Exes Express Edition; the score was also released on vinyl on the same date.[34] A digital release, subtitled the expanded edition, is scheduled for July ix, 2021.[35] [36]
Reception [edit]
| Amass scores | |
|---|---|
| Source | Rating |
| Metacritic | 68[27] |
| Review scores | |
| Source | Rating |
| AllMusic |   [26] |
| Chicago Tribune | [37] |
| Upshot 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/x[42] |
| PopSugar | Favorable[43] |
| Punknews.org | [44] |
| Rolling Rock |  [45] |
| Seattle P-I | [46] |
Online music database AllMusic gave the soundtrack a positive review,[26] and Den of Geek said that the picture show has "one of the best soundtracks of the yr".[iv] MTV shared this cess and specially praised the Sex Bob-Omb songs.[47] Common Sense Media gave it a 3 out of 5 star rating, finding the soundtrack more child-appropriate than the film for its absurdist but non-explicit linguistic communication, common to alt-rock.[48]
The AllMusic review said that "soundtracks to movies adapted from comic books are often marketing gratuitous-for-alls", noting how promotional considerations frequently override the thematic coherence of the picture, only that this "[could not] be further from the truth for Scott Pilgrim vs. the Globe 's music."[26] Drowned in Sound added that "with a soundtrack that captures the spirit of the comics with such fervency, conviction and bailiwick, Scott Pilgrim vs The Earth looks gear up to be a lot less dislikable than yous might've hoped."[39]
Matthew Perpetua for Pitchfork too noted the accommodation, proverb that "for the well-nigh part, Wright and his collaborators nailed it".[17] Perpetua felt that while Brook's songs may be a fleck too good for Sex Bob-Omb, he successfully "captures the ramshackle energy implied in the comics", but notes that the pic versions are more than enjoyable than the Beck versions on the soundtrack due to Beck sounding too professional person for the "scrappy" songs.[17] He comments more on the Crash and the Boys music, similarly proverb that Broken Social Scene "hit their mark in terms of conveying the humour of frantic nether-one-minute numbers" simply that he finds the songs too plain for the fictional band "that ought to exist far more weird and unreal" due to the musical superpowers they have in the graphic novel.[17] Impact'due south Matt Burdick too thought the soundtrack would have been better had a Crash and the Boys song from the comics called "Terminal Song Kills The Audition" been included.[21]
Den of Geek's Glen Chapman wrote that the Clash at Demonhead performing "Metric's 'Black Sheep' is the closest to what [he] imagined whatever of the bands would sound" like based on the comics; he said that he is disappointed that Larson's version was non on the soundtrack.[6] He besides expressed disappointment that a detail song from the film, Holy Fuck's "Latin", was non on the soundtrack.[6]
Amusement Weekly gave the album a B rating, praising the song "Garbage Truck",[forty] while Rolling Rock gave a more mixed review, stating that the contributions of Beck and Broken Social Scene were not strong and that "the charm of those songs fades outside the motion picture".[45] Perpetua also felt that they were unnecessary, but were nice songs and contributed to the design of the comic earth in the music.[17] Nevertheless, Chapman noted that he listened to the soundtrack before he watched the film and that it works in isolation from the film where other soundtracks do not, adding that it "plays out like a very potent, about perfect mix record". He found that the previously released songs were "fantabulous [and] absolutely advisable 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'southward intendance in curating his flick 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".[viii] NPR'southward Mike Katzif discussed the soundtrack and ended: "what makes this all so much fun to me is that it tries something a little different. Where most soundtracks autumn into a standard, even boring format – the mixtape compilation – Scott Pilgrim's filmmakers score major bonus points for creating something that allows the music to exist as crucial to the motion picture-watching experience equally information technology is in the comics."[11]
Regarding the score, Chapman said that it is as strong as the soundtrack and an equal accessory to the movie, concluding 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 post stone to up-tempo dance pieces, this is a varied but highly effective debut score that's an interesting break from the orchestral scores that accept accompanied much of the year'south biggest pictures."[6]
Accolades [edit]
The vocal "We Are Sex activity Bob-Omb" won the 2010 Houston Film Critics Society Award for All-time Original Vocal,[49] and was nominated for the 2010 Las Vegas Film Critics Lodge Sierra Award for Best Song[50] and the 2011 Online Film & Television Association Award for Best Original Song.[51]
Information technology was listed as number 4 of the 40 greatest flick soundtracks by The Independent,[52] and was on AltPress'due south list of sixteen fantastic soundtracks.[53]
Track listings [edit]
Soundtrack [edit]
| No. | Title | Writer(southward) | Artist(s) | Length |
|---|---|---|---|---|
| i. | "We Are Sexual practice Bob-Omb" | Beck Hansen | Sex Bob-Omb (Michael Cera, Alison Pill, Mark Webber, Beck and Brian LeBarton) | 2:00 |
| 2. | "Scott Pilgrim" | Lynette Gillis, Catriona Sturton, Amanda Bidnall, Carla Gillis | Plumtree | iii:02 |
| three. | "I Heard Ramona Sing" | Charles Thompson | Frank Black | 3:forty |
| 4. | "By Your Side" | Paul Denman, Andrew Unhurt, Sade, Stuart Matthewman | Beachwood Sparks | 4:57 |
| 5. | "O Katrina!" | Ian St. Pe, Joe Bradley, Jared Swilley, Cole Alexander | Blackness Lips | 2:51 |
| 6. | "I'thou Then Sad, So Very, Very Sad" | Ohad Benchetrit, Kevin Drew, Brendan Canning, Charles Spearin | Crash and the Boys (Cleaved Social Scene and Erik Knudsen) | 0:13 |
| 7. | "We Hate You Delight Die" | Benchetrit, Drew, Canning, Spearin | Crash and the Boys | 0:59 |
| 8. | "Garbage Truck" | Hansen | Sexual practice Bob-Omb | 1:44 |
| nine. | "Teenage Dream" | Marc Bolan | T. Male monarch | 5:45 |
| 10. | "Sleazy Bed Rails" | Mark James Morris, Scott Edward Morris, Edward Daniel Chestor, Adam Patrick Devlen | The Bluetones | iv:36 |
| 11. | "It's Getting Wearisome by the Sea" | Laura Carter, Steven Ansell | Blood Red Shoes | 2:56 |
| 12. | "Black Sheep" | Emily Haines, James Shaw | Metric | iv:56 |
| 13. | "Threshold" | Beck Hansen | Sexual practice Bob-Omb | one:47 |
| 14. | "Anthems for a Seventeen Year-Old Girl" | Drew, Canning, Justin Peroff, Spearin, Haines, John Crossingham, Shaw, Jessica Moss | Broken Social Scene | 4:36 |
| xv. | "Under My Thumb" | Mick Jagger, Keith Richards | The Rolling Stones | iii:41 |
| 16. | "Ramona" (acoustic version) | Hansen | Beck | 1:02 |
| 17. | "Ramona" | Hansen | Beck | 4:22 |
| eighteen. | "Summer" | Hansen | Sexual activity Bob-Omb | two:10 |
| 19. | "Threshold" (8-bit version) | Hansen | Brian LeBarton | 1:48 |
| No. | Title | Writer(s) | Artist(s) | Length |
|---|---|---|---|---|
| 20. | "Garbage Truck" | Hansen | Beck | 1:48 |
| 21. | "Threshold" | Hansen | Beck | one:43 |
| 22. | "Summertime" | Hansen | Beck | two:09 |
| No. | Title | Writer(s) | Artist(due south) | Length |
|---|---|---|---|---|
| xx. | "Black Sheep" (Brie Larson vocal version) | Haines, Shaw | Metric featuring Brie Larson | four:54 |
| 21. | "No Fun" | Hansen | Sexual practice Bob-Omb | |
| 22. | "Garbage Truck" | Hansen | Brook | i:48 |
| 23. | "Threshold" | Hansen | Brook | 1:43 |
| 24. | "Indefatigable" | Hansen | Sex Bob-Omb | |
| 25. | "Become!" | L. Gillis, Sturton, Bidnall, C. Gillis | Plumtree | |
| 26. | "Ramona" (acoustic demo idea ane) | Hansen | Beck | |
| 27. | "Ramona" (acoustic demo idea ii) | Hansen | Beck | |
| 28. | "Ramona" (acoustic demo idea 3) | Hansen | Beck | |
| 29. | "Ramona" (Mellotron) | Hansen | Beck | |
| 30. | "Summertime" | Hansen | Beck | ii:09 |
| 31. | "Enter Goddess" | Koji Kondo | Nigel Godrich |
Score [edit]
| No. | Title | Author(due south) | Artist(southward) | Length |
|---|---|---|---|---|
| ane. | "Universal Theme" | Jerry Goldsmith | Nigel Godrich | 0:21 |
| 2. | "Hillcrest Park" | Godrich | Godrich | 4:04 |
| 3. | "Fight!" | Godrich | Godrich | 2:52 |
| four. | "Slick (Patel's Song)" (featuring Satya Bhabha) | Dan the Automator, Bryan Lee O'Malley | Dan the Automator | ane:39 |
| 5. | "Love Me Some Walking" | Godrich | Godrich | four:02 |
| 6. | "Talk to the Fist" | Godrich | Godrich | 1:03 |
| 7. | "Rumble" | Godrich | Godrich | i:58 |
| 8. | "Feel the Wrath" | Godrich | Godrich | one:25 |
| ix. | "The Grind" | Godrich | Godrich | 0:35 |
| 10. | "Hello Envy" | Godrich | Godrich | 0:49 |
| 11. | "Mystery Assailant" | Godrich | Godrich | 1:12 |
| 12. | "2d Cup" | Godrich | Godrich | 1:fifty |
| 13. | "The Vegan" | Godrich | Godrich | 4:05 |
| 14. | "Bass Boxing" (featuring Jason Falkner and Justin Meldal-Johnsen) | Godrich | Godrich | 1:45 |
| 15. | "Lamentable I Guess" | Godrich | Godrich | ane:11 |
| 16. | "Roxy" | Godrich | Godrich | 5:34 |
| 17. | "The Ninth Circumvolve" | Godrich | Godrich | 0:51 |
| 18. | "Katayanagi Twins vs. Sex activity Bob-Omb" | Brook, Cornelius | Beck & Cornelius | 3:09 |
| nineteen. | "This Fight Is Over" | Godrich | Godrich | 1:21 |
| xx. | "Gideon Calling" | Godrich | Godrich | 1:02 |
| 21. | "Level vii" | Godrich | Godrich | 0:40 |
| 22. | "Welcome to Chaos Theatre" | Godrich | Godrich | i:17 |
| 23. | "We Are Sex Bob-Omb" (fast) | Beck | Beck & Nigel Godrich | 0:58 |
| 24. | "Fast Archway Into Hell" | Godrich | Godrich | 0:57 |
| 25. | "Chau Down" | Godrich | Godrich | ane:ten |
| 26. | "Game Over" | Godrich | Godrich | 0:52 |
| 27. | "So Alone" | Godrich | Godrich | 2:00 |
| 28. | "Circular two" | Godrich | Godrich | 1:25 |
| 29. | "Death to All Hipsters" | Brook | Brook & Nigel Godrich | 0:41 |
| xxx. | "A Unlike Guy" | Godrich | Godrich | 1:05 |
| 31. | "Boss Battle" | Godrich | Godrich | ii:46 |
| 32. | "Blowing Up Right At present" | Godrich | Godrich | 0:46 |
| 33. | "Aftermath" | Godrich | Godrich | i:38 |
| 34. | "Adieu and Stuff" | Godrich | Godrich | ii:43 |
| 35. | "Love" | Osymyso | Osymyso | 1:38 |
| 36. | "Ramona" | Osymyso | Osymyso | 1:31 |
| 37. | "Prepare" | Osymyso | Osymyso | i:09 |
| 38. | "Ninja Ninja Revolution" | Dan the Automator | Dan the Automator | 1:08 |
Personnel [edit]
Credits adapted from Discogs:[55]
- Art direction: Dale Voelker
- Music product 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 production for Universal Pictures: Harry Garfield
- Music supervisor: Kathy Nelson
- Thank you: Bryan Lee O'Malley
Chart positions [edit]
| Chart (2010) | Top position |
|---|---|
| Australian Albums Chart[56] | 56 |
| Canadian Albums Chart[57] | 20 |
| Greek Albums (IFPI)[58] | 21 |
| U.S. Billboard 200[59] | 24 |
| U.S. Billboard Alternative Albums[60] | 4 |
| U.S. Billboard Tastemakers[61] | 13 |
| U.Due south. Billboard Top Soundtracks[62] | 2 |
References [edit]
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External links [edit]
- Scott Pilgrim vs. the World at Metacritic
- Corcoran, Nina (Baronial 13, 2020). "'Scott Pilgrim Vs. The World' Is A 2010s Indie Stone Time Capsule". Stereogum. Archived from the original on Baronial 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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