Not sure, but I think the instrumental Talk Tonight (with piano high in the mix) might be a piece of Rael Jones' incidental music.

There are one or two parts in the film which are scored with his re-recordings of Oasis's music, to suggest the songs taking shape in the studio. E.g. there are variations on the Supersonic riff leading into the clip about that recording session. On first viewing I thought this might have been from the multitrack of Supersonic, but Rael confirmed that he re-recorded the part.



I'll ask on Twitter and see if he can help out on this.

Yes, it's a shame there hasn't been a soundtrack yet. I asked Rael again more recently and he still would like it to happen though.

Here's an excerpt from an interview Rael Jones gave to the Mulderville website.

Q: You worked recently with director Mat Whitecross on the film Supersonic, the Oasis documentary. What was your process to create this score?

Rael Jones: It was quite a mixed process really. As I said above, I basically just said "Yes!” and did everything I could to make the music side work for Mat. Though my credit is original music composer, I ended up doing a lot of production work on Oasis’s music too.

This involved anything from finding the best gig audio from the various archives we had and restoring the sound as far as possible, to mixing from live multi-tracks for the bigger gigs like Knebworth. Despite it being a documentary about a band, there’s a surprising amount of original music in there too, something like 35 minutes.

Though I never imitate their music, I had to coexist with it, often transitioning out of their songs in the same key, using feedback to blur the lines of what might be a live gig and what is underscore. There are many sections when you hear the band in studios and rehearsal rooms.

There’s one particular moment in the doc where Noel Gallagher writes the song “Supersonic” in the studio last minute to replace a song they weren’t happy with. Very little of this stuff was captured at the time, so we had to create all kinds of things, both visual and audio, to tell the story. So I re-recorded the opening Supersonic riff slowly and tentatively, as an underscore to Noel talking about the writing of the riff. There were lots of extra little bits like that, almost wild tracks or musical foley, say, making the sounds of a band in a rehearsal room between songs to fill in the gaps for what was captured.

It’s worth remembering - people didn't have mobile phones back in 1994! There were lots of gaps to be filled, even compared to something like the doc Amy, where they have Amy Winehouse on camera as a girl singing "Happy Birthday" really well because most people had digital cameras then, whereas back in the '90s, they didn't so much. Mat did an incredible job of weaving together a seamless narrative out of very limited material, especially for the earlier part of their story before everyone was pointing cameras at them.

Q: When you were brought into Supersonic, were you told you were going to be the mixer, music editor and composer?

Rael Jones: I had worked with Mat before as a music editor. He was confident that I could handle all aspects of music, so we just went with that. At times, it was more like a music producer role for me, looking after all aspects. It was a really mixed job, both technical and creative.

The full interview is available here: www.mulderville.net/evenements/entretiens/929/our-interview-with-rael-jones-on-my-cousin-rachel-and-his-career

Thank you davidjay for this - fascinating stuff! It does make you appreciate the soundtrack that was compiled for Supersonic, interweaving perfectly with the original music

Thank you so much for taking the time to ask Rael on twitter, davidjay.

davidjay's posts never disappoint. Top stuff.