Composed by JOHN POWELL
The 2003 MGM film Agent Cody Banks features composer John Powell at the musical helm of this CIA-trained high school secret agent with the cool bravado of a super spy and the angst of a teen boy who was trained to fight but not to talk to a girl. No stranger to the world of intrigue, the composer who adorned the Jason Bourne films with rhythmic action created a score capturing Cody’s blend of assured physical moves and absolute verbal awkwardness. It required a musical personality that resonated from a stalwart hero theme to punchy jazz riffs, gripping doomsday-countdown suspense and a lushly assured melody for the fashionably sinister ERIS. Agent Cody Banks is far more than a retro Bond pastiche however, especially when it comes to playing a character caught between the CIA and civilian worlds, and a gawkylooking kid who isn’t nearly the ladykiller he’s cracked up to be. Subsequently, Powell mirrors every “serious” theme with a humorous counterpart, thus reflecting the two sides of Cody Banks. His teen-awkward “hero” melody is propelled by a finger-snapping groove.
At the time of the film’s release, a CD sported just two score cuts amongst a barrage of vocals. Some twelve years later, Intrada unleashes a CD packed-to-the-limits of playing time featuring the complete score.
In the film, Frankie Muniz plays Agent Cody Banks, assigned to spying on fellow student Natalie Connors (Hilary Duff) in order to get close to her father, a scientist who has invented killer nanobots designed to bring down the country. Saving the country from killer nanobots — easy. Talking to Connors — highly challenging.
John Powell scores Harald Zwart action comedy with Frankie Muniz, Hilary Duff and all concerned melding James Bond with Ferris Bueller! Cody Banks works for the CIA, embarks on deadly mission to defeat sinister ERIS. Now if he can only win the girl. Action and hijinks play out to rousing, tuneful music with emphasis on energetic pace. Powell offers great main theme, tips harmonic hat to John Barry of the sixties, then surrounds with dynamic action for full orchestra. Mod-sixties vibe adds to retro feel. Powell manages not inconsiderable feat of balancing his score between both juvenile world of high school kid in CIA tale and rip-roaring action ideas for grown-up, high tech excitement involved. Bring in element of fun and you have John Powell at his coolest, colorful-est, commanding-est, best! Several cues stand out but sizzling action of “Natalie Rescued” certainly deserves spotlight. Snappy main theme for Cody Banks is another highlight but vying for equal attention is serious, rhythmic minor-key military motif for CIA and related activity. All in all, Agent Cody Banks springs into action to a terrific barrage of orchestral razzle dazzle! Entire 79-minute score presented from two-track digital stereo session mixes, courtesy MGM and John Powell. Informative liner notes by Daniel Schweiger plus colorful graphics and flipper cover art designed by Joe Sikoryak add further appeal. Mission accomplished! John Powell composes, Mike Nowak conducts.
TRACKLIST
01. Opening (1:59)
02. Skateboard Chase (2:38)
03. Hero (2:17)
04. CIA (0:17)
05. Field Agent (1:43)
06. Stutter Boy (0:30)
07. Cody To Duty (2:22)
08. Welcome To The CIA (0:45)
09. CIA Lab (2:15)
10. School Brochure (0:24)
11. Slo-Mo Natalie (0:49)
12. Silver Button (1:38)
13. Mr. Yip (1:36)
14. Failed (0:53)
15. Sparring Match (1:37)
16. CIA Cleans House (2:33)
17. The Van (1:46)
18. Girl School (2:36)
19. Nurse! (2:32)
20. Roadside Briefs (0:46)
21. Banks, Cody Banks (1:01)
22. Break In Part 1 (1:48)
23. Break In Part 2 (7:15)
24. Pool Fight (1:57)
25. Sacked (1:31)
26. Kitchen Fight (1:48)
27. Cody Can’t Help (1:06)
28. Jr. Jr. Secret Agent (3:02)
29. Seaplane (1:19)
30. Snowmobile Chase (3:21)
31. To Lair (3:54)
32. Escape Fails (2:18)
33. Natalie Rescued (7:50)
34. I’ll Be Back (2:04)
35. Hero’s Homecoming (2:13)
36. End Credits (4:37)
