Logan (soundtrack)

Last updated

All music is composed by Marco Beltrami

Logan: Original Motion Picture Soundtrack
Logan soundtrack.jpg
Film score by
ReleasedMarch 3, 2017
Recorded2017
Genre Film score
Length57:31
Label
Producer
X-Men soundtrack chronology
X-Men: Apocalypse
(2016)
Logan
(2017)
Deadpool 2
(2018)
Logan: Original Motion Picture Soundtrack
No.TitleLength
1."Main Titles"2:21
2."Laura"2:24
3."The Grim Reavers"1:32
4."Old Man Logan"2:45
5."Alternate Route to Mexico"1:23
6."That's Not a Choo-Choo"2:13
7."X-24"2:46
8."El Limo-Nator"1:38
9."Gabriella's Video"2:35
10."To the Cemetery"0:55
11."Goodnight Moon"1:55
12."Farm Aid"3:11
13."Feral Tween"3:34
14."Driving to Mexico"1:42
15."You Can't Break the Mould"1:07
16."Up to Eden"1:51
17."Beyond the Hills"2:09
18."Into the Woods"3:09
19."Forest Fight"2:30
20."Logan vs. X-24"4:13
21."Don't Be What They Made You"2:04
22."Eternum – Laura's Theme"3:34
23."Logan's Limo"2:32
24."Loco Logan"1:20
25."Logan Drives"2:08
Total length:57:31

Deluxe edition

All music is composed by Marco Beltrami

Logan (Official Motion Picture Soundtrack) (Deluxe Edition)
No.TitleLength
1."Main Titles"2:21
2."Laura"2:24
3."The Grim Reavers"1:32
4."Old Man Logan"2:45
5."Alternate Route to Mexico"1:23
6."That's Not a Choo-Choo"2:13
7."X-24"2:46
8."El Limo-Nator"1:38
9."Gabriella's Video"2:35
10."To the Cemetery"0:55
11."Goodnight Moon"1:55
12."Farm Aid"3:11
13."Feral Tween"3:34
14."Driving to Mexico"1:42
15."You Can't Break the Mould"1:07
16."Up to Eden"1:51
17."Beyond the Hills"2:09
18."Into the Woods"3:09
19."Forest Fight"2:30
20."Logan vs. X-24"4:13
21."Don't Be What They Made You"2:04
22."X Marks the Plot"1:30
23."Eternum – Laura's Theme"3:34
24."Logan's Limo"2:32
25."Loco Logan"1:20
26."Logan Drives"2:08
Total length:59:01

Reception

Beltrami's musical score received critical acclaim, praising the composition and the minimalistic approach. [18] Jonathan Broxton, in his critical review, wrote "there will be a significant disconnect between it and those who grew up listening to Michael Kamen, John Ottman, and John Powell’s X-Men scores, because Beltrami’s Logan is just so different from anything we have heard in a super-hero movie before. On the one hand, this is commendable; bucking expectations and taking an entirely new approach to a well-defined musical genre is not an easy thing to do, but that’s exactly what Beltrami has done here. On the other hand, listeners will still need to be comfortable with music that shifts between being dissonant, ambient, and jazzy, and which has more in common with the work of Ennio Morricone, Jerry Fielding, Elliot Goldenthal, and Bernard Herrmann, than anyone who has scored a super-hero movie before. If you’re cool with that, then Logan will find a way to at least entertain you and allow you to experience its unusual tonal palette. If not, then you may find yourself recoiling in horror like Caliban from the sun, or experiencing a psychic attack of your own." [19]

Filmtracks.com wrote "The former is at least tolerable and marginally frightening. The other motifs are either obnoxious to the point of laughter or obtusely ineffectual due to pacing and subversion. Exercising some of this nightmarish musical environment is fine so long as it is used as counterpoint to the alternative, namely Logan's past. Without that disparity in battle within this film, there can be no proper emotional catharsis, and it makes for an extremely dull and mind-numbing album that conveys no narrative for the otherwise important closing chapter for two vital franchise characters. On the other hand, as critics noted about the film in general, kudos need to be supplied for taking a chance, and Beltrami responded to this unusual demand as best as anyone could have. While this music is less cohesive and tolerable than The Wolverine, it's at least more technically intelligent, and they thus receive the same rating. On album, though, be prepared for adamantium poisoning of your ears." [20]

Soundtrack Beat gave 8/10 to the film score and wrote "If music in every other X-Men movie was speaking, in “Logan” music is whispering. Music whispers all the anger and rage simmering inside Logan that it’s about to be unleashed. After all, the movie isn’t rated R without reason!  Marco Beltrami succeeds in creating a believable and completely compatible musical environment for Logan, that it’s impossible to imagine the film without it. Marco Beltrami’s score is really the soul of the film." [21] Seattlepi 's Tall Writer wrote "This is a great score and amazing experience that's well outlined with great transitions and blending flow. Producers wisely choose the best pieces and not the entire score as well as the songs, like Johnny Cash's "The Man Comes Around," which gets played at the ending credits. Like the film, you won't forget this score anytime soon." [22]

Chart performance

Chart (2017)Peak

position

UK Soundtrack Albums (OCC) [23] 31
US Soundtrack Albums ( Billboard ) [24] 21

Accolades

Logan's original score by Beltrami was shortlisted as one among the 118 potential contenders chosen by Academy of Motion Picture Arts and Sciences for the nominations of Best Original Score category at the 90th Academy Awards. [25] However, it was not nominated. [26]

AwardDate of ceremonyCategoryRecipient(s)ResultRef.
Hollywood Music in Media Awards November 16, 2017Best Original Score – Sci-Fi/Fantasy/Horror Film Marco Beltrami Nominated [27]
[28]

Personnel

Credits adapted from CD liner notes [2]

Production
Instrumentation
Orchestra
Management

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