I can state that only the greatest could enjoy such an artistic reputation,therefore only Michael Mann could find effective sound options, grabbing both the ethnic “music heart” of Alì and of a specific era preventing producers from exaggerating with too much hot-headed choices; this way he averted from including, for example, a piece by Will Smith (generally used to parodying his feature films) or from employing artists too much overused at that time and who could be matched by people with a kind of music very different from this film and its cultural context (see James Brown / Rocky IV).

In spite of the good premises, it is a pity that the second edition is inexplicably short and only very few pieces from the Lisa Gerrard and Pieter Bourke four-hour composition and the involvement of important authors in the ambient panorama, such as the cellist Martin Tillman, have been used, probably only to give the soundtrack a more commercial pull.

​Despite the double release, there are pieces omitted and, perhaps, unpublished laying on DAT in some recording studio and more not included in the film. What is more, Bill Brown (http://www.billbrownmusic.com), well known film music (Any Given Sunday)  and Video Games (Tom Clancy’s Ghost Recon) composer and arranger has given the final scene during the fight with Foreman the right climax extent by matching Ali’s thoughts with the track Final Round Prequel Stings (a string crescendo), then artistically mixed with Tomorrow by Salif Keita.

An apt example of the purpose of my study  could be the incidental music during the first match against Sonny Linston(Michael Bennt). In it emotions and situations fit plainly together with the music and the director does not linger on the use of a single score, because of his knowledge and know-how.

The unknown piece (maybe could be ALI Pre Fight by Martin Tillman), for instance, seems to help letting oneself down a nearly mystical concentration and it starts from the prayer in the locker-room and then fades on the first round gong; after a few seconds of silent studying, interrupted by a short passage of Black Attack, Memory Gospel by Moby raises, giving expression to Cassius Clay’s elegance, pureness and strength.

Black Attack by Gerrard/Bourke is, actually, really suitable on Linston’s answers because it let sense a brutal, dangerous as well as misleading strength; finally, Set me free by Dungeon East&Wild Peach, prelude to the retiring, helps focusing on who the true champion is.

Quite incredible the musical editing used at that moment, namely the drums of Set me free start playing again when Linston’s gumshield stops while reaching the ring and therefore confirming Clay’s victory.

But we also remember the music that receives a privileged stage treatment: The opening suite of more or less 10 minutes of films that cross Ali’s training and scenes from his life as a promising boxer not yet world champion - is connected by a fiery live performance of Bring It on Home to Me, where to incarnate Sam Cooke is David Elliott, son of Dionne Warwick; and For Your Precious Love, played by Shari Watson aka Truth Hurts at a club where Ali and his first wife Sonji Roi dance cheek to cheek.

As far as the pieces omitted from the soundtracks are concerned, the titles are listed below:

-Bodyrock- Moby album Play used for the TV and cinema trailer

-Memory Gospel- Moby - B Side from the single Honey

-Ali Pre Fight - Martin Tillman

-Zurich  - Martin Tillman

-Induction - Martin Tillman

-Death Letter - Johnny Farmer Album Wrong Doers Respect Me Ali is recognized in the metropolitan,"Hey Champ"

-Destiny - Lisa Gerrard e Pieter Bourke

-Dreams-  Shankar N’Caroline album Plus from Us

-Bolon - Salif Keita album Papa Ali trains running through the streets of Kinshasa accompanied triumphantly by locals

-Yes we Can -The Pointer Sisters

-Serere (do Good) Babani & Egypt 80 Ali gets carried away by the rhythm and dance

-Final Round Prequel-Round 8 Stirings Bill Brown

-Agbekor Zandonu African Music and Dance Company Percussion that accompany the training in Kinshasa

The pieces Odessa and Ceremony by Martin Tillman are included in the wonderful album Eastern Twin.

ALI ORIGINAL SOUNDTRACK II Decca ‎– 016 967-2

1–Dungeon East & Whild Peach Set Me Free 3:42

2–Mighty Joe Young As The Years Go Passing By 4:42

3–The Soul Clan That's How If Feels 3:35

4–Lisa Gerrard & Pieter Bourke Sleeper 3:04

5–Salif Keita Papa 4:58

6–Lisa Gerrard & Pieter Bourke Time Flies Away 2:14

7–Lisa Gerrard & Pieter Bourke Adagio 2:32

8–Lisa Gerrard & Pieter Bourke That's What You Always Do 1:55

9–Martin Tillman Ceremony 4:19

10–Lisa Gerrard & Pieter Bourke Black Attack 1:20

11–Salif Keita Sanni Kegniba 7:54

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ALI ORIGINAL SOUNDTRACK Interscope Records ‎– 493 173-2

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1–R. Kelly The World's Greatest

2–Alicia Keys Fight

3–R. Kelly Hold On

4–Al Green A Change Is Gonna Come

Featuring – Booker T & The MG's

5–Aretha Franklin Ain't No Way

6–Bilal Sometimes

7–Angie Stone20 Dollars

8–Truth Hurts For Your Precious Love

9–David Elliot (2)Bring It On Home To Me

10–Everlast The Greatest

11–Shawn Kane Mistreated

12–Salif Keita Tomorrow

13–The Watchtower Four All Along The Watchtower

14–Martin Tillman Odessa

15–Lisa Gerrard & Pieter Bourke See The Sun

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