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Since the very first time I heard the "Lost & Found" theme from HTTYD 2 I noticed it shared a few notes with Shen's theme, so I made this: /watch?v=HMQTiimsdPg What do you guys think? I think Shen's theme might be Powell ;) but the again, you can never be sure about who composed what.
You're correct - Hybrid confirmed a while back that Powell did Shen's theme.
"More Cannons" one of Balfe's best cues. Listened to it today and it was great! That is all.
This whole score has some great cues by Lorne Balfe. In Zimmer's own words, "Lorne Balfe was really a hero on that score." :P
(And by the looks of it, Balfe did more work here than Zimmer did... lol).
Yeah, you can kind of tell Balfe worked on that one when the Megamind rhythm kicks in 30 seconds before the end. The rest of the cue sounds more Powellish to me though.
We already had this discussion but "More Cannons" is basically a variation on the track "Hero" from the first movie which, as we can all agree was mostly done by Powell. That explains the "Powellish" sound.
Besides, didn't Hybrid say Lorne "mimicked" Powell's sound for the end of My Son is Alive? It wouldn't be a stretch to assume he did so for other parts of the score, too.
I dunno Edmund, all of "More Cannons" sounds like Balfe to me. It has the "Shen" rhythm running throughout the entire track as its foundation. And listen to the quick trumpet writing, it's the same sort you hear in Megamind, and even in "Zen Ball Master". The swirling woodwinds and strings sound very Powellish though, and the ascending scales at 1:51 sound like a Zimmer contribution.
@Mike - "My Son is Alive" sounds exactly like Lorne though.
Yes, because Powell never uses quick trumpet writing... :p
I can hear both composers' voices, but Powell's is simply a stronger voice...so his sound tends to dominate for me, even though it may well be an even collaboration. "My Son is Alive/My Fist Hungers for Justice" sounds more like "pure" Balfe to me, although ironically the theme owes a lot to How to Train Your Dragon!
The Zimmerish ascending scales are a holdover from the bridge cue from the first KFP, so I'm guessing it's an adaptation of a Zimmer idea by Powell/Balfe.
Geesh, what a clusterfuck all this is. I guess it's old-fashioned of me to say this, but why can't we just have ONE guy compose everything, no confusion, no fuss? :p
Hah, well it doesn't bother me. I think it's cool when you get a couple of people going at it and high quality work results, which still has a coherent narrative. It's fun to try and pick out the different contributions.
The problem is when it becomes a "too many cooks" thing and you just end up with something disjointed. Thankfully, this score is far from.
"Yes, because Powell never uses quick trumpet writing... :p"
Haha, I can't quite describe the difference. Lorne's stuff is more... rhythm I guess? I mean Powell to me is more "Free the Five", which is more dynamic and exuberant I suppose. "More Cannons" has a harsh edge to it which evokes Balfe/Zimmer. Perhaps you're right and it genuinely was a real collaboration there with different ideas pitched in.
"The Zimmerish ascending scales are a holdover from the bridge cue from the first KFP"
Did Paul Mounsey do the entire first cue, or just part of it? Because the audio file only has the Story of Shen part, and that in turn was on Zimmer's page when the audio player was there....
Not sure, but it's really amazing how difficult it can be to tell each composer apart in here (besides Po Finds the Truth, most of which is obviously Zimmer). The rest sounds like Powell, but was supposedly Zimmer's contribution due to the Lorne Balfe credits...
So is Paul Mounsey to John Powell what Lorne Balfe is to Hans Zimmer? lol
That might indeed be fair to say. Mounsey has been on quite a few Powell projects (The Lorax, How To Train Your Dragon, Happy Feet Two, Kung Fu Panda 2, Mars Needs Moms, and probably more) and we all know how often Lorne works alongside Zimmer. :)
Mounsey also worked on Horton Hears a Who, Rio, Green Zone, Knight and Day, Ice Age 3 and 4, Fair Game, and Bolt--so yes, I would say he is like the Lorne Balfe of John Powell's projects.
Mounsey also wrote additional music for Epic, which probably explains why parts of Danny Elfman's score sound eerily similar to John Powell's work. It's likely that the folks at Blue Sky Studios wanted to hire Powell for the umpteenth time but couldn't because of his hiatus, so they hired Mounsey (along with Elfman) to write Powell-y music.
Edmund, thank you. I didn't know this had leaked yet.
Goodness, so many HZ scores leaked this week. In fact, its been a good year or so for HZ fans (as far as leaked scores haha). I wonder what happened all of a sudden. Definitely hoping for more in the next couple of months. Maybe Pearl Harbor or Hannibal will come soon. At least, thats what I hope haha.
It's been an absolutely amazing year for leaked complete scores in general! I have a huge backlog of them that I haven't even gotten around to listening to yet. Maybe some disgruntled RC employee quit and rage-uploaded all of them. :p
But...hasn't the complete Pearl Harbor been around for ages?
I don't think so. The only thing I've seen is a promo or expanded with a couple of new cues. The complete hasn't leaked, as far as I know.
Really? My version is about 102 minutes...maybe not 100% complete for a film as long as Pearl Harbor but hardly just a promo with a couple of additional cues. I've had it for long enough that I don't even remember where I got it.
This is one of the few scores with Zimmer music where I'd say most of the notable stuff was released (the others being The Dark Knight in its 2-disc form, At World's End with all the suites from the Treasures Collection, The Last Samurai, Gladiator, and Crimson Tide).
Well, yeah, the complete score here is only about 15 minutes longer than the regular album. Powell animated scores (which this really is more than a Zimmer effort) tend to have pretty good releases that contain most if not all of the music, and always all of the really important stuff.
As for your other ones, I agree with all of them except At World's End. The Treasures Collection suites were definitely an absolute godsend, but that still didn't include Maelstrom Pt. 1 or Liftoff, which are both absolutely essential cues IMO.
Powell animated scores do tend to get good treatment. How to Train Your Dragon was an excellent album. And you're right, Maelstrom pt. 1 and Liftoff are great pieces, which is why I intentionally said the scores contain MOST of the notable stuff. ;)