Digital Booklet - The Man from U.N.C.L.E. Soudtrack (Deluxe Version)

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“Do you think we’re going to kill him?” casually asked Sam Okell, our fantastic recording engineer. “Nah – not yet anyway,” I replied. Down below us in the hallowed environs of Abbey Road Studio 2 – the spiritual home of almost every pivotal sound of the 1960’s – flute virtuoso Dave Heath was laying down yet another punishing lung-busting performance that would have had a lesser man reaching for a defibrillator. Guy Ritchie had entrusted me with creating a score for his thrillingly stylish new take on The Man From U.N.C.L.E. with what seemed like some very basic ground rules – “I want every cue to be iconic.” He then launched into an extended metaphor about the best way to cook sardines, the general tenor of which was ‘don’t ponce about with fancy sauces when all you need is a bit of lemon juice – KEEP IT SIMPLE.’ As a result I ended up getting the nickname as ‘the Columbo of the control room’ (“just one more take.”) as I pushed our amazing musicians as far as I could. We’d agreed the big orchestral sound wasn’t the way to go – instead it was to write simple, go small, layer, get close and concentrate on the detail one sound at a time. Get the best performances we could possibly get on every single instrument. Look at it all under a microscope. A tiny moment, a breath, a swing, could just nudge that cue from good to great. Capturing them was equally as important. We commandeered every single piece of vintage gear Abbey Road had to offer – from the old REDD mixing desks that look like they could be from the Vinciguerra’s nuclear bunker to ancient microphones, reverbs, tape machines, even the echo chamber room that is part of the building itself – in a bid to create a sound that felt as authentically a part of the 1960’s as the film does. We ended up with everything from two drummers simultaneously tearing it up (“Take You Down”) to spikey vintage harpsichords (“Laced Drinks”); insane poly-rhythmic percussion (“The Drums Of War”) to swaggeringly robust guitars (“His Name Is Napoleon Solo”). After the long journey of writing this score I can honestly say the weeks we finally spent recording, experimenting and mixing at Abbey Road were probably the most fun I have ever had on a film soundtrack. If we’ve even captured a fraction of that you should be in for a treat. I hope you are.

DAN I E L PE M B E RTON

LONDON 2015 3

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Score Composed and Produced by DANIEL PEMBERTON Orchestrated and Conducted by ANDREW SKEET Recorded and Mixed by SAM OKELL Recorded at ABBEY ROAD, STUDIO TWO Mixed at ABBEY ROAD, STUDIO THREE Engineered by GORDON DAVIDSON Assisted by JON ALEXANDER Music contractor: GARETH GRIFFITHS Music co-ordination: DARRELL ALEXANDER Score preparation: JILL STREATER Music Editor: SIMON CHANGER Assistant: BEN SMITHERS Mastered by ALEX WHARTON at Abbey Road Studios

FEATURED MUSICIANS

Flutes: DAVE HEATH Guitars: LEO ABRAHAMS, HUW DAVIES, JOHN PARRICELLI Drums: TIM WELLER, MIKE SMITH Bass: JON NOYCE, RICHARD PRYCE Percussion: ROB FARRER, PAUL CLARVIS, JEREMY WILES, RUSSELL JORDAN Cimbalom: ED CERVENKA Harpsichord: KAREN GLEN, ANDREW SKEET Hammond: STEVE LODDER Recorders: REBECCA PROSSER Harmonica: PHILLIP ACHILLE Marxophone, Univox: DANIEL PEMBERTON Hand Claps: SAM OKELL Trumpet: GARETH WILLIAMS Vocals: JAY MARSH, DAVE SANDERSON Orchestral Leader: ROBBIE GIBBS Strings and Brass: CHAMBER ORCHESTRA OF LONDON

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Score Published by: WARNER-OLIVE MUSIC, LLC (ASCAP) “COMPARED TO WHAT” Written by Eugene McDaniels l Published by Lonport Music Inc. (BMI), administered by Wixen Music Publishing, Inc. l Performed by Roberta Flack l Courtesy of Atlantic Recording Corp. l 1995 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States “JIMMY, RENDA SE” Written by Tom Zé and Valdez l Published by Fermata Do Brasil Ltda / Bendig Music Corp. (BMI), administered by Wixen Music Publishing, Inc. and Fermata Do Brasil Ltda / Fermata International Melodies, Inc. (ASCAP), administered by Wixen Music Publishing, Inc. l Performed by Tom Zé and Valdez l Courtesy of Mr. Bongo & Som Livre l 1970 RGE Discos “CRY TO ME” Written by Bert Berns aka Bert Russell l Published by Downtown DMP Songs (BMI), Sony/ATV Songs LLC. (BMI), and Sloopy II Music, administered by Wren Music Co., A Division of MPL Music Publishing Inc. (BMI) l Performed by Solomon Burke l Courtesy Originally of Atlantic Recording Corp. l released 1962 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States.

“FIVE MONTHS, TWO WEEKS, TWO DAYS” Written by Debbie Morris and Don Donaldson l Published by Gomace Music, Inc. (BMI) l Performed by Louis Prima l Courtesy of Capitol Records, LLC under license from Universal Music Enterprises l 2002 Capitol Records, LLC (remastered) “CHE VUOLE QUESTA MUSICA STASERA” Written by Gaetano Amendola, Ezio Leon, and Roberto Murolo l Published by Sugar Melodi, Inc. (ASCAP) o/b/o Creazioni Artistiche Musicali C.A.M. SRL l Performed by Peppino Gagliardi l Courtesy of Creazioni Artistiche Musicali C.A.M. Srl – A Gruppo Sugar company l 1967 Creazioni Artistiche Musicali C.A.M. Srl – A Gruppo Sugar company “IL MIO REGNO” Written by Luigi Tenco l Published by Universal Music Publishing Ricordi Srl., administered by Universal Music - MGB Songs l Performed by Luigi Tenco l 1963 Sony Music Entertainment Italy S.p.A. under exclusive license to BMG Rights Management S.R.L. l Under license from Sony Music Commercial Music Group, a division of Sony Music Entertainment “TAKE CARE OF BUSINESS” Written by Andy Stroud (BMI) l Published by EMI Grove Park Music Inc. / Ninandy Music (BMI) l Performed by Nina Simone l Courtesy of The Verve Music Group under license from Universal Music Enterprises l Originally released in 1965 on Verve Records 9

Executive Album Producer: GUY RITCHIE Executive in charge of Music For Warner Bros. Pictures: NIKI SHERROD Executive in Charge of WaterTower Music: JASON LINN Music Supervisor: IAN NEIL Music Business Affairs Executive: LISA MARGOLIS Album Clearances: NEIL SHULMAN Art Direction: SANDEEP SRIRAM Scoring Session Photography: AMELIA PEMBERTON and CHLOE PEMBERTON DANIEL PEMBERTON THANKS: Firstly Guy Ritchie and Lionel Wigram for choosing to take me on one of the most crazy, exciting and unpredictable musical journeys I have ever been on; the wonderful Niki Sherrod, Paul Broucek and all the Warner Bros music team for their constant support and faith; the king of vintage Sam Okell for making this score sound so unbelievably good and putting up with my bad jokes; my right hand man Andrew Skeet for yet another effortless adventure; all the amazing musicians who gave so much to this project for all their talents, enthusiasm and patience; all the previous U.N.C.L.E. composers whose remarkable work made this job even more daunting; Colette Barber, Gordon Davidson, Jon Alexander, Alex Wharton and absolutely everyone at Abbey Road Studios; Steve Clark Hall, Siobhan Boyes, Simon Changer, Ben Smithers and the whole U.N.C.L.E. production crew; the heart of the cutting room – Phil Hedgecock, Angus Monroe and Luke Clare; Jason Linn, Sandeep Sriram, and the whole WaterTower team; Gareth Williams and Dave Heath for early experimentations; Matthew Corbett at Freshtones for tape-based advice; Robert Messinger, Brittney Gagnier and the Fortress Management team; Darrell, Gareth and the COOL Music team; Karen Elliot at Hothouse; every single one of the Pemberton family; and finally a massive thanks to one of the unsung heroes of this entire score, the fastest fingers in film editing and biggest fan of the phrase ‘just stick some mad bongos on it’, the amazing James Herbert. SPECIAL THANKS TO: Steve Clark-Hall, James Herbert, Phil Hedgecock, Jeff Ludwig, Lauren Meek THANKS TO: Darrell Alexander, Peter Axelrad, Colette Barber, Joseph Billé, Siobhan Boyes, Paul Broucek, Andy Brown, Rocco Carrozza, Simon Changer, Linda Christie, Karen Elliott, Kerrylyn Genetive, Ray Gonzalez, Joe Kara, Kevin Kertes, Afnahn Khan, Kolette Kleber, Nick Koletic, Brian Lambert, Ny Lee, Kris Little, Nigel Mccorry, Steve McLaughlin, Robert Messinger, Lori Miyakawa, Genevieve Morris, Amanda Narkis, Jaimie Roberts, Natalie Rodriguez, Marlene Seki, Ian Shein, Marc Solomon, Bobby Thornburg, Raymond Walden, John F.X. Walsh, Robert Zick

This compilation 2015 WaterTower Music. Motion Picture Artwork © 2015 Warner Bros. Entertainment Inc. Motion Picture Photography © 2015 Warner Bros. Entertainment Inc. and RatPac-Dune Entertainment LLC All rights reserved.

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ORIGINAL MOTION PICTURE SOUNDTRACK

MUSIC BY DAN I E L PE M B E RTON

1. “COMPARED TO WHAT” – ROBERTA FLACK 2. OUT OF THE GARAGE 3. HIS NAME IS NAPOLEON SOLO 4. ESCAPE FROM EAST BERLIN 5. “JIMMY, RENDA SE” – TOM ZÉ AND VALDEZ 6. MISSION: ROME 7. THE VINCIGUERRA AFFAIR 8. BUGS, BEATS AND BOWTIES 9. “CRY TO ME” – SOLOMON BURKE 10. “FIVE MONTHS, TWO WEEKS, TWO DAYS” – LOU I S PR I MA 1 1. SIGNORI TOILETO ITALIANO 12. BREAKING IN (SEARCHING THE FACTORY) 13. BREAKING OUT (THE COWBOY ESCAPES) 14. “CHE VUOLE QUESTA MUSICA STASERA” – PE PPI NO GAG LIAR D I 15. INTO THE LAIR (BETRAYAL PART I) 16. LACED DRINKS (BETRAYAL PART II) 17. “IL MIO REGNO” – LUIGI TENCO 18. CIRCULAR STORY 19. THE DRUMS OF WAR 20. TAKE YOU DOWN 21. WE HAVE LOCATION 22. A LAST DRINK 23. “TAKE CARE OF BUSINESS”– NINA SIMONE 24. THE UNFINISHED KISS 25. THE RED MIST (BONUS TRACK) 26. THE SWITCH (BONUS TRACK) 27. WARHEAD (BONUS TRACK) 28. FISTS (BONUS TRACK) SCORE PRODUCED BY: DANIEL PEMBERTON EXECUTIVE ALBUM PRODUCER: GUY RITCHIE EXECUTIVE IN CHARGE OF MUSIC FOR WARNER BROS. PICTURES: NIKI SHERROD EXECUTIVE IN CHARGE OF WATERTOWER MUSIC: JASON LINN MUSIC SUPERVISOR: IAN NEIL

This compilation 2015 WaterTower Music. Motion Picture Artwork © 2015 Warner Bros. Entertainment Inc. Motion Picture Photography © 2015 Warner Bros. Entertainment Inc. and RatPac-Dune Entertainment LLC All rights reserved.

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