Hancock
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| # | Track | Duration | |
|---|---|---|---|
| 1. | SUV Chase | 2:01 | |
| 2. | John, Meet Ray | 2:05 | |
| 3. | Train Disaster | 2:40 | |
| 4. | Meatballs? | 0:57 | |
| 5. | The Trailer | 2:01 | |
| 6. | French Asshole | 1:32 | |
| 7. | Superhero Comix | 0:43 | |
| 8. | You Should Go! | 0:51 | |
| 9. | Mary Brings Meatballs | 1:33 | |
| 10. | Getting Therapy | 2:18 | |
| 11. | To War | 1:19 | |
| 12. | I Really Hate That Word | 0:48 | |
| 13. | Standing Ovation | 1:06 | |
| 14. | The Kiss | 2:20 | |
| 15. | Indestructible | 2:06 | |
| 16. | Hollywood Blvd | 6:24 | |
| 17. | Mortal | 5:27 | |
| 18. | Upon Us All | 1:19 | |
| 19. | Death and Transfiguration | 3:55 | |
| 20. | The Moon and the Superhero | 3:13 | |
| 44:37 |
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John Powell is one of my favourite composers. Of course is John Williams the best following by James Newton Howard and Hans Zimmer but John Powell let use seen that he is an good composer too!
First: Sorry for my bad English!
I like the music from this score. With many percussion and violins, this score sounds so great!
1. SUV Chase (2:01)
A beautiful peace of work. Not so beautiful as quiet music but i like the percusion in this number. The trumpets are good even as the horns in this number. The Orchestra swings!
2. John, Meet Ray (2:05)
A good number with not much percussion. The number feels like rust and that is very good. In the movie I remember this number, I believe its one of the best numbers of the score. But don't forget track 16, 19 and 20. The beginning of the score is good.
3. Train Disaster (2:40)
I don't have much to say about this number, it is an good number but nothing more. Number 1 and number 2 (the tracks) where better.
4. Meatballs? (0:57)
It's a shame! 0:57 seconds is not enough for me, this is one of the Powell numbers i don't like. It is nothing more than 1 minute...shame! The number is not so good, the title of the number (meatballs) remember me to the film. The music not.
5. The Trailer (2:01)
Yes! An number from 2 minutes and it is an good one. I like the number.
6. French Asshole (1:32)
It starts a bit as fun. The hands and the clarinet are good. But this is an number i don't like much. The percusion isn't good in this number but at 0:43 seconds my attention is back! It is an bit scary with the violins and than the percusion comes again, an good number. Not the first secons but afer the 0:43 seconds the number is good to listen.
7. Superhero Comix (0:43)
Not an long number but you here the Hancock Theme and I like that theme very much. It is an quiet theme with not much percusion but much violins. 0:43 seconds is not much but it is better than track 4. I like the Hancock theme, and Powell wrote that theme himself.
8. You Should Go! (0:51)
In the film i remember this moment. He sits in the Prison (i believe) and than the world needs him...they realy needs him. This number gives him power and it is an bit funny (the track). Only i believe, maybe track 7 and 8 must be togother in 1 track. Than you have a track of 1:34 minutes. And that is better than 2 mini tracks. But I like this track.
9. Mary Brings Meatball (1:33)
The gitare is the hand tool of the number. In the beginning of this track you hear the gitare a bit. I plays an sad theme and than the other instruments come...an great number and in the film it was not an great scene. The music remember me this time to the film! Not like the bad number 4 i hate. This number is good.
10. Getting Therapy (2:18)
An great number with only quiet...the violins plays everything good. John Powell let use see that he is the master! At 50 seconds you hear the sad violins and i thought:'Violins'? But it is an great choise of Powell. The violins remember me of the movie Titanic...the sad orchestra an board of the sinking ship. This number is great and than you hear the Hancock Theme again. Not realy good but when you good listen, you hear it. An good number.
11. To War (1:19)
Yes! The beginning of the number is so great. It gives me the feeling if i am the hero self. In the film this was an great moment because of the music of John Powell. The percusion is great en the Orchestra swings like number 1. An great number with a lot of violins too. No Hancock Theme but the number is very good.
12. I Really Hate That Word (0:48)
If you have seen the film you understand why i am must laughing about this track. The name of the track is very funny. In the movie Will Smith hate an word. And this number remember me at that moment in the movie.
13. Standing Ovation (1:06)
The accordion plays an great part in this number. You hear the number of the movie (i called that the Hancock Theme). The violins make it sad and it is an great number with not much percion but it is great!
14. The Kiss (2:20)
The first seconds are the Hancock Theme playing by the violins of the Orchestra. Than you hear some funny violins. Not an great number because you hear the same (all the time). But at 1 minute the number is different from the beginning part. The number is great! The percion comes and than you hear some very strange instruments. Strange number but an good number. I don't exactly know the moment of the film but it is not important now. The music is funny. It begins funny and it ends funny.
15. Indestructible (2:06)
It starts like number 1 with the strange instruments. But it is an great opening of the movie and an great opening of this number. You hear some funny notes of the xylophoon and the violins are good in this number. Not an great number but it is nice to listen.
16. Hollywood BLVD (6:24)
Yes! One of my favourite ones on this score. I know exactly the part of the movie where this number is...Will Smith is Hancock but Why he hase that powers? In this number he hase an fight against an super woman! An great scene in the movie of Peter Berg, great performence of Smith but great performece of John Powell too. He makes the scene great. This number starst normal but at the 2 minutes it is different! The percusion is great en the trumpets are very good. At 2:38 the Orchestra swings again, very good! Than you hear some electric gitares and strange instruments (as usual by John Powell). The violins you hear too. This number is perfect and everyhing is so good in this number. The percusion, violins and the other instruments plays good. You hear some Gongs to (Chinese instruments) and that makes it good and strange. At the 4 minutes you have a short break but after 10 seconds you hear the orchestra swings again! The people like the score of: Mr. & Mrs. Smith be ready! This is an great peace of work. An great scene with much special effects and the music is great too. Very good of Powell. The whole track you listen to the music, sometimes great, sometimes an litte break and then comes the percusion again. The favourite things of John Powell (percusion).
Mortal (5:27)
An very sad number. The violins plays this number so good and peaceful. But at 0:28 you hear the troms again and an voice of an Woman. You don't hear the voice good but good enough to hear an woman voice. An sad theme for an sad scene of the movie Hancock. Hancock his sister explain why he is so and she too...The scene is great and i like the way of music John Powell hase writen. So good and quiet. The xylophoon you hear again but then what happends at 3:38? An gitare comes in the number and play an sad melody. And than you hear the Hancock Theme again. The head theme of the movie!
Upon Us All (1:19)
The piano! I am glad John Powell knows what an piano is. I thought he was the piano forgotten but that is not true. The piano plays an head part in this number. It is an sad number, the piano is gone and than you hear the violins. An sad number...but very good!
19. Death And Transfiguration (3:55)
After track 20 and 16, this is my favourite number. But not from the first notes (gitare notes). I thought:"Stop Loss?" An score of John Powell too, but than everything change...at 1:08 i like this number! The scene of the movie is very very very good!!! An very good theme and i like the notes of 1:44 minutes. The violis plays now very good! The trumpets are great too, but the violins are better! An great number! At 2:35 you hear the sad Hancock Theme version and woman voices...
20. The Moon And The Superhero (3:12)
My favourite number! You hear some percusion in the beginning of this track but the whole track is an bit magical! So great! You hear of course the Hancock Theme. This is the Moon scene in the movie and the End Credits. My favourite number because of the great Theme and the great Orchestra. My favourite part starts at 1:09! The great trumpets and the violins on the background. An great number and an good ending of the movie! John Powell did it again! He is an realy good composer and he let use see it with scores like Hancock and more.
2008 is the year of John Powell. He wrote the music for several movies like: P.S. I love you, Stop-Loss, Hancock and Jumper. From those 4 scores i only can say one thing: P.S. I love you and Hancock are the best scores of him! Hancock is great, very great. My mark: a 9.
First: Sorry for my bad English!
I like the music from this score. With many percussion and violins, this score sounds so great!
1. SUV Chase (2:01)
A beautiful peace of work. Not so beautiful as quiet music but i like the percusion in this number. The trumpets are good even as the horns in this number. The Orchestra swings!
2. John, Meet Ray (2:05)
A good number with not much percussion. The number feels like rust and that is very good. In the movie I remember this number, I believe its one of the best numbers of the score. But don't forget track 16, 19 and 20. The beginning of the score is good.
3. Train Disaster (2:40)
I don't have much to say about this number, it is an good number but nothing more. Number 1 and number 2 (the tracks) where better.
4. Meatballs? (0:57)
It's a shame! 0:57 seconds is not enough for me, this is one of the Powell numbers i don't like. It is nothing more than 1 minute...shame! The number is not so good, the title of the number (meatballs) remember me to the film. The music not.
5. The Trailer (2:01)
Yes! An number from 2 minutes and it is an good one. I like the number.
6. French Asshole (1:32)
It starts a bit as fun. The hands and the clarinet are good. But this is an number i don't like much. The percusion isn't good in this number but at 0:43 seconds my attention is back! It is an bit scary with the violins and than the percusion comes again, an good number. Not the first secons but afer the 0:43 seconds the number is good to listen.
7. Superhero Comix (0:43)
Not an long number but you here the Hancock Theme and I like that theme very much. It is an quiet theme with not much percusion but much violins. 0:43 seconds is not much but it is better than track 4. I like the Hancock theme, and Powell wrote that theme himself.
8. You Should Go! (0:51)
In the film i remember this moment. He sits in the Prison (i believe) and than the world needs him...they realy needs him. This number gives him power and it is an bit funny (the track). Only i believe, maybe track 7 and 8 must be togother in 1 track. Than you have a track of 1:34 minutes. And that is better than 2 mini tracks. But I like this track.
9. Mary Brings Meatball (1:33)
The gitare is the hand tool of the number. In the beginning of this track you hear the gitare a bit. I plays an sad theme and than the other instruments come...an great number and in the film it was not an great scene. The music remember me this time to the film! Not like the bad number 4 i hate. This number is good.
10. Getting Therapy (2:18)
An great number with only quiet...the violins plays everything good. John Powell let use see that he is the master! At 50 seconds you hear the sad violins and i thought:'Violins'? But it is an great choise of Powell. The violins remember me of the movie Titanic...the sad orchestra an board of the sinking ship. This number is great and than you hear the Hancock Theme again. Not realy good but when you good listen, you hear it. An good number.
11. To War (1:19)
Yes! The beginning of the number is so great. It gives me the feeling if i am the hero self. In the film this was an great moment because of the music of John Powell. The percusion is great en the Orchestra swings like number 1. An great number with a lot of violins too. No Hancock Theme but the number is very good.
12. I Really Hate That Word (0:48)
If you have seen the film you understand why i am must laughing about this track. The name of the track is very funny. In the movie Will Smith hate an word. And this number remember me at that moment in the movie.
13. Standing Ovation (1:06)
The accordion plays an great part in this number. You hear the number of the movie (i called that the Hancock Theme). The violins make it sad and it is an great number with not much percion but it is great!
14. The Kiss (2:20)
The first seconds are the Hancock Theme playing by the violins of the Orchestra. Than you hear some funny violins. Not an great number because you hear the same (all the time). But at 1 minute the number is different from the beginning part. The number is great! The percion comes and than you hear some very strange instruments. Strange number but an good number. I don't exactly know the moment of the film but it is not important now. The music is funny. It begins funny and it ends funny.
15. Indestructible (2:06)
It starts like number 1 with the strange instruments. But it is an great opening of the movie and an great opening of this number. You hear some funny notes of the xylophoon and the violins are good in this number. Not an great number but it is nice to listen.
16. Hollywood BLVD (6:24)
Yes! One of my favourite ones on this score. I know exactly the part of the movie where this number is...Will Smith is Hancock but Why he hase that powers? In this number he hase an fight against an super woman! An great scene in the movie of Peter Berg, great performence of Smith but great performece of John Powell too. He makes the scene great. This number starst normal but at the 2 minutes it is different! The percusion is great en the trumpets are very good. At 2:38 the Orchestra swings again, very good! Than you hear some electric gitares and strange instruments (as usual by John Powell). The violins you hear too. This number is perfect and everyhing is so good in this number. The percusion, violins and the other instruments plays good. You hear some Gongs to (Chinese instruments) and that makes it good and strange. At the 4 minutes you have a short break but after 10 seconds you hear the orchestra swings again! The people like the score of: Mr. & Mrs. Smith be ready! This is an great peace of work. An great scene with much special effects and the music is great too. Very good of Powell. The whole track you listen to the music, sometimes great, sometimes an litte break and then comes the percusion again. The favourite things of John Powell (percusion).
Mortal (5:27)
An very sad number. The violins plays this number so good and peaceful. But at 0:28 you hear the troms again and an voice of an Woman. You don't hear the voice good but good enough to hear an woman voice. An sad theme for an sad scene of the movie Hancock. Hancock his sister explain why he is so and she too...The scene is great and i like the way of music John Powell hase writen. So good and quiet. The xylophoon you hear again but then what happends at 3:38? An gitare comes in the number and play an sad melody. And than you hear the Hancock Theme again. The head theme of the movie!
Upon Us All (1:19)
The piano! I am glad John Powell knows what an piano is. I thought he was the piano forgotten but that is not true. The piano plays an head part in this number. It is an sad number, the piano is gone and than you hear the violins. An sad number...but very good!
19. Death And Transfiguration (3:55)
After track 20 and 16, this is my favourite number. But not from the first notes (gitare notes). I thought:"Stop Loss?" An score of John Powell too, but than everything change...at 1:08 i like this number! The scene of the movie is very very very good!!! An very good theme and i like the notes of 1:44 minutes. The violis plays now very good! The trumpets are great too, but the violins are better! An great number! At 2:35 you hear the sad Hancock Theme version and woman voices...
20. The Moon And The Superhero (3:12)
My favourite number! You hear some percusion in the beginning of this track but the whole track is an bit magical! So great! You hear of course the Hancock Theme. This is the Moon scene in the movie and the End Credits. My favourite number because of the great Theme and the great Orchestra. My favourite part starts at 1:09! The great trumpets and the violins on the background. An great number and an good ending of the movie! John Powell did it again! He is an realy good composer and he let use see it with scores like Hancock and more.
2008 is the year of John Powell. He wrote the music for several movies like: P.S. I love you, Stop-Loss, Hancock and Jumper. From those 4 scores i only can say one thing: P.S. I love you and Hancock are the best scores of him! Hancock is great, very great. My mark: a 9.
I’ll admit it; Hancock was not one of those movies that caught my attention when it came out earlier this summer. The premise sounded too ridiculous, perhaps a bit over the top — which I don’t even know what it means for Hollywood standards. Having said that, I do have great respect for Will Smith and Charlize Theron as actors, so I said to myself, why not give them the benefit of the doubt. In a year that has already proven to be extremely busy for John Powell, he still managed to create an enjoyable score for this movie. The score is far from great or perfect: it undoubtedly lacks thematic material, cohesive instrumentation, and a defining style. Thus, this score, although well composed and orchestrated, sounds more like a disjointed experimentation of new sounds, old sounds, and the well known style that defines John Powell.
‘SUV chase’ is a powerful introductory track with a nice blend of 70’s sounds and a more modern style. Some of the brass parts are a bit piercing and not too intricate, but the mix as a whole is superb. Unfortunately, no themes can be heard in this piece, so the listener will be left wondering whether any main theme will appear later on. ‘John meet Ray’, on the other hand, is a somewhat simpler track that is well composed. At times the sound will appear to be a mixture of Kung Fu Panda and George Fenton’s You’ve Got Mail. Still, it is in this track that we first hear some indications of the themes that will reappear throughout the album.
‘Train Disaster’ feels more like two separate tracks. In the first part, we hear the well known Powell sound with heavy use of percussion and strings. The second half contains more of that 70’s blend that is cleverly orchestrated by Powell. Thankfully, Powell knows exactly how to make these compositions sound full and never weak.
‘The Trailer’ and ‘Standing Ovation’ are some of the softer pieces in this album. In 'The Trailer,' we get a better glimpse at one of the themes; sadly, it’s not a very memorable theme, so listeners will quickly forget about it. ‘Standing Ovation’ possesses a more emotional tone, but its short duration does not allow it to develop into anything more than that. In fact, most of the tracks are fairly short in duration and, thus, no defining themes, melodies, rhythms, or styles will be found throughout most of this CD. However, even though the tracks may be a little bit short, they are still enjoyable.
‘Getting Therapy’ again reintroduces the only somewhat defined theme of the score. Needless to say, it lacks development and is quickly obscured by the rest of the instruments — most notably the guitars. Moreover, this track feels more like a pop tune, rather than a piece out of a film score. The chord progressions are simple and there is little musical development from within. ’To War’ is one of the most action packed cues of the soundtrack. This piece starts somewhat poorly, but quickly evolves into a track that appears to be taken out of The Italian Job. Well, I should say that it lacks the energy that made the score for The Italian Job such an admirable job (no pun intended) by Powell.
‘Hollywood Boulevard’ and ‘Mortal’ are the longest tracks in this album. They certainly contain a lot of original material but, sadly, all of this material lacks thematic content. As you would expect, the tracks are brilliantly mixed and mastered; the sounds are also very innovative. Nonetheless, they contain too many variations within them to really appreciate the music. ‘Mortal’ tries to reincorporate the organ theme into the mix. Admittedly, this is one of those themes that you can recognize, but one you can hardly remember after hearing it. Not surprisingly, ‘The Moon and the Superhero’ is the best track of this soundtrack. Not only do the orchestrations sound fuller and more Powell-appropriate, but its thematic content is better than all of the other 19 tracks combined. This track would’ve served as a nice reference for the rest of the score, instead of having no real focus from which to base all of the compositions (John Powell should’ve realized this).
Overall, the score is an enjoyable one. The mixes are really outstanding and, for the most part, the music is entertaining. However, this score definitely lacks themes, motifs, and a defining musical center; which, as expected, forces the music into a diverse mixture of sounds and orchestrations — hence producing a disjointed work. Surely, some fans will enjoy it more than others, but this is not Powell’s best work. Luckily, the CD still contains sufficient entertaining and creative material that most people will have a good listening experience.
‘SUV chase’ is a powerful introductory track with a nice blend of 70’s sounds and a more modern style. Some of the brass parts are a bit piercing and not too intricate, but the mix as a whole is superb. Unfortunately, no themes can be heard in this piece, so the listener will be left wondering whether any main theme will appear later on. ‘John meet Ray’, on the other hand, is a somewhat simpler track that is well composed. At times the sound will appear to be a mixture of Kung Fu Panda and George Fenton’s You’ve Got Mail. Still, it is in this track that we first hear some indications of the themes that will reappear throughout the album.
‘Train Disaster’ feels more like two separate tracks. In the first part, we hear the well known Powell sound with heavy use of percussion and strings. The second half contains more of that 70’s blend that is cleverly orchestrated by Powell. Thankfully, Powell knows exactly how to make these compositions sound full and never weak.
‘The Trailer’ and ‘Standing Ovation’ are some of the softer pieces in this album. In 'The Trailer,' we get a better glimpse at one of the themes; sadly, it’s not a very memorable theme, so listeners will quickly forget about it. ‘Standing Ovation’ possesses a more emotional tone, but its short duration does not allow it to develop into anything more than that. In fact, most of the tracks are fairly short in duration and, thus, no defining themes, melodies, rhythms, or styles will be found throughout most of this CD. However, even though the tracks may be a little bit short, they are still enjoyable.
‘Getting Therapy’ again reintroduces the only somewhat defined theme of the score. Needless to say, it lacks development and is quickly obscured by the rest of the instruments — most notably the guitars. Moreover, this track feels more like a pop tune, rather than a piece out of a film score. The chord progressions are simple and there is little musical development from within. ’To War’ is one of the most action packed cues of the soundtrack. This piece starts somewhat poorly, but quickly evolves into a track that appears to be taken out of The Italian Job. Well, I should say that it lacks the energy that made the score for The Italian Job such an admirable job (no pun intended) by Powell.
‘Hollywood Boulevard’ and ‘Mortal’ are the longest tracks in this album. They certainly contain a lot of original material but, sadly, all of this material lacks thematic content. As you would expect, the tracks are brilliantly mixed and mastered; the sounds are also very innovative. Nonetheless, they contain too many variations within them to really appreciate the music. ‘Mortal’ tries to reincorporate the organ theme into the mix. Admittedly, this is one of those themes that you can recognize, but one you can hardly remember after hearing it. Not surprisingly, ‘The Moon and the Superhero’ is the best track of this soundtrack. Not only do the orchestrations sound fuller and more Powell-appropriate, but its thematic content is better than all of the other 19 tracks combined. This track would’ve served as a nice reference for the rest of the score, instead of having no real focus from which to base all of the compositions (John Powell should’ve realized this).
Overall, the score is an enjoyable one. The mixes are really outstanding and, for the most part, the music is entertaining. However, this score definitely lacks themes, motifs, and a defining musical center; which, as expected, forces the music into a diverse mixture of sounds and orchestrations — hence producing a disjointed work. Surely, some fans will enjoy it more than others, but this is not Powell’s best work. Luckily, the CD still contains sufficient entertaining and creative material that most people will have a good listening experience.
Original Motion Picture Soundtrack
Music by John Powell
There are heroes...there are superheroes...and then there's Hancock (Will Smith). Edgy, conflicted, sarcastic, and misunderstood, Hancock's well-intentioned heroics might get the job done and save countless lives, but always seem to leave jaw-dropping damage in their wake.
The public has finally had enough — as grateful as they are to have their local hero, the good citizens of Los Angeles are wondering what they ever did to deserve this guy. Hancock isn't the kind of man who cares what other people think — until the day that he saves the life of PR executive Ray Embrey (Jason Bateman), and the sardonic superhero begins to realize that he may have a vulnerable side after all.
Music by John Powell
There are heroes...there are superheroes...and then there's Hancock (Will Smith). Edgy, conflicted, sarcastic, and misunderstood, Hancock's well-intentioned heroics might get the job done and save countless lives, but always seem to leave jaw-dropping damage in their wake.
The public has finally had enough — as grateful as they are to have their local hero, the good citizens of Los Angeles are wondering what they ever did to deserve this guy. Hancock isn't the kind of man who cares what other people think — until the day that he saves the life of PR executive Ray Embrey (Jason Bateman), and the sardonic superhero begins to realize that he may have a vulnerable side after all.
Trailer:
This soundtrack trailer contains music of:
'Who do you love', George Thorogood (Movie)
'Take me out', Franz Ferdinand (Movie)
'Venegeful Resurrection', Audiomachine (Movie)
'Bad Blood', Audiomachine (Movie)
'Dark Empire Mix', X-Ray Dog (Movie)
Sabotage, Beastie Boys (song(s))
Trailer:
This soundtrack trailer contains music of:
'Who do you love', George Thorogood (Movie)
'Take me out', Franz Ferdinand (Movie)
'Venegeful Resurrection', Audiomachine (Movie)
'Bad Blood', Audiomachine (Movie)
'Dark Empire Mix', X-Ray Dog (Movie)
Sabotage, Beastie Boys (song(s))
Trailer:
Other releases of Hancock (2008):
