"Brian and Charles" Soundtrack Lyrics

"Brian and Charles" Soundtrack Description

Questions and Answers

Is there an official soundtrack album?

Yes. Brian and Charles (Original Motion Picture Soundtrack) was released June 2022 and features 21 cues by Daniel Pemberton (as listed on Apple Music and Spotify).

Who composed the score?

Daniel Pemberton composed the original score—pastoral, quirky, and proudly homemade in tone. (Focus Features’ announcement confirms.)

Does the album include Charles’s rap from the credits?

Yep. The cue is titled “I Want to See It All (Charles Rap)” and appears near the end of the album; in-film it runs over the credits montage.

Is there a notable remix or guest on the release?

Yes—the soundtrack includes a specially commissioned remix of “The Workshop of Invention” by The Future Sound of London (according to Focus Features).

Who handled music supervision for the film?

Music supervisor credit: David Fish (listed in BFI Southbank’s programme notes).

Where can I stream or buy it?

Streaming on Apple Music, Spotify, and TIDAL; digital retail on major stores. Physical editions have been digital-first to date.

Notes & Trivia

• The score album was issued via 1812 Recordings alongside the U.S. theatrical release window (Focus Features’ site notes the drop).
• A Future Sound of London remix of “The Workshop of Invention” accompanies the album rollout—an electronic wink at Brian’s DIY tinkering.
• End credits feature Charles’s globe-trotting photo montage and his own rap—folded into the album as “I Want to See It All (Charles Rap).”
• Music supervision by David Fish helped blend source songs (e.g., The Communards) with Pemberton’s whimsical score (BFI programme notes).
• The film premiered at Sundance 2022 and opened in U.S. theaters on June 17, 2022; UK release followed July 8 (Wikipedia’s release history).

Overview

Why does a man-and-robot buddy film sound like a postcard from the countryside? Because Brian and Charles treats invention as a kind of folk art. Daniel Pemberton’s soundtrack mixes rustic melodies, toy-box percussion, and synth sprinkles, then lets the cues bloom into small, proud anthems (“Wales, Land of Wonder,” “The Blue Blue Sky”). (according to Focus Features’ album notes)

The songs used in-film are cheeky scene-setters—kitchen-dance classics and easygoing lounge grooves—while the album itself stays score-centric. The end-credit surprise is Charles’s own rap, a charming flex that doubles as his mission statement. (as listed on Apple Music; BFI programme notes mention the supervision)

Genres & Themes

• Pastoral chamber + folk inflections ↔ rural warmth and handmade optimism; strings and guitar sketch Brian’s inner weather.
• Whimsical electronics ↔ Charles’s curiosity in sound: toy-synth burbles, friendly bleeps, motor-like ostinatos.
• Cheeky source needle-drops ↔ kitchen boogies, road potterings, and a wink at small-town nightlife.

Key Tracks & Scenes

“Wales, Land of Wonder” — Daniel Pemberton
Where it plays: Opening mood-setter; introduces Brian’s world with bright, bucolic textures.
Why it matters: Establishes the film’s homemade grandeur; small town, big heart.

“The Workshop of Invention” — Daniel Pemberton (incl. FSOL remix)
Where it plays: Early tinkering montage; later, the Future Sound of London remix reframes the theme for release/promo.
Why it matters: The film’s Rube Goldberg heartbeat—curiosity as meter. (Focus Features highlighted the remix)

“Don’t Leave Me This Way” — The Communards with Sarah Jane Morris
Where it plays: Around 0:34:00 — Brian and Charles boil cabbage and dance in the kitchen (diegetic feel).
Why it matters: Converts the pair’s odd-couple vibe into pure joy. (timestamp documented by Soundtracki)

“She’s My Lady and She’s Lovely” — The Grooving Company
Where it plays: About 0:14:00 — Brian returns home, notices lights, and catches his robot moving (car radio/source).
Why it matters: A sly contrast: suave library music meets wobbling, newborn robot. (per Soundtracki’s scene guide)

“I Want to See It All (Charles Rap)” — Daniel Pemberton & Charles Petrescu
Where it plays: End credits over Charles’s travel photos (non-diegetic, character-voiced).
Why it matters: Gives Charles authorship—he literally gets the last word. (IMDb notes the credit-rap; album includes the cue)

Track–Moment Index (selected)

Music–Story Links (characters & plot beats)

• Brian’s “Workshop” motif elevates tinkering into purpose: each pluck and pulse stands in for a solved problem.
• When “Don’t Leave Me This Way” hits, the kitchen becomes a dance floor; the cue turns their domestic routine into declared companionship.
• Charles’s credits rap reframes the ending from Brian’s project to Charles’s journey—agency set to a grin.

How It Was Made (supervision, score, behind-the-scenes)

Pemberton’s score was released by 1812 Recordings alongside the film’s theatrical rollout, with Focus Features spotlighting both the album and the FSOL remix. (as stated by Focus Features)

Music supervision by David Fish assisted the blend of source cuts and score; the end-credit rap originated from Pemberton’s suggestion to use the credits’ “extra time” for a second song—Charles’s own. (director Jim Archer told /Film; BFI programme notes list the supervisor)

Reception & Quotes

“Original score from Academy Award-nominated composer Daniel Pemberton… including a Future Sound of London remix.” — Focus Features

“That rap with Charles… was actually Daniel’s idea.” — Jim Archer, interview with /Film

The film’s warmth and the score’s hand-built charm drew consistent praise from festival-goers and reviewers; the album reads like a cheerful field guide to Brian’s world. (according to Focus Features’ notes and critics’ summaries)

Technical Info

• Title: Brian and Charles (Original Motion Picture Soundtrack)
• Year: 2022
• Type: movie
• Director: Jim Archer
• Composer: Daniel Pemberton
• Music Supervision: David Fish
• Label: 1812 Recordings
• Key cues / singles: “Wales, Land of Wonder,” “The Workshop of Invention” (+ FSOL remix), “Cabbage Cannon Chase,” “Brian + Charles,” “I Want to See It All (Charles Rap)”
• Album availability: Apple Music, Spotify, TIDAL (digital); end-credit rap included.
• Select source placements: “She’s My Lady and She’s Lovely” (The Grooving Company); “Don’t Leave Me This Way” (The Communards feat. Sarah Jane Morris).

Canonical Entities & Relations

Sources: Focus Features (album announcement & remix note); Apple Music; Spotify; TIDAL; IMDb (soundtrack & credits notes); BFI Southbank programme notes; /Film interview; Wikipedia (film page & release dates); Soundtracki scene guide.

October, 25th 2025