"It's On Again" Performed by Alicia Keys feat. Kendrick Lamar Written by Pharrell Williams, Alicia Keys, Hans Zimmer & Kendrick Lamar Produced by Pharrell Williams & Hans Zimmer Recorded by Andrew Coleman & Mike Larson for i am OTHER Entertainment, Ann Mincieli, Chuck Choi, Stephanie McNally & Bob Badami Recorded at South Beach Studios, Miami Beach, FL, Conway Recording Studios, Los Angeles, CA, Remote Control Productions, Santa Monica, CA & Oven Studios, New York, NY
Recording Assisted by Hart Gunther, Ben Sedano, Raphael Mesquita, Val Beathwaite & Ramon Rivas Mixed by Mick Guzauski at Ocean Way Recording Studios, Los Angeles, CA
Mix Assisted by Rouble Kapoor Digital Editing & Arrangement by Andrew Coleman & Mike Larson for i am OTHER Entertainment Alicia Keys' Vocals Engineered by Ann Mincieli at Oven Studios, New York, NY & Conway Recording Studios, Los Angeles, CA
Piano Performed by Alicia Keys Violin Performed by Ann Marie Simpson
"Here" Performed by Pharrell Williams Written by Pharrell Williams, Johnny Marr & Hans Zimmer Produced & Mixed by Stephen Lipson Assisted by Christian Wenger Recorded at Remote Control Productions Guitars Performed by Johnny Marr Synth Programming: Hans Zimmer Guitars, Keys, Drums & Synth Programming: Stephen Lipson String Arrangement: Steve Mazzaro
"Withing The Web (First Day Jam)" Performed by Czarina Russell, Hans Zimmer & The Magnificent Six Written by Czarina Russell, Johnny Marr, Hans Zimmer, Junkie XL, Pharrell Williams, Michael Einziger & Ann Marie Simpson Produced by Hans Zimmer, Stephen Lipson & Peter Asher Recorded by Stephen Lipson & Daniel Kresco Recording Assistant: John Witt Chapman Mixed by Daniel Kresco
"Electro Remix" Performed by Alvin Risk & Hans Zimmer Written by Alvin Risk, Hans Zimmer, Pharrell Williams & Junkie XL Produced by Alvin Risk & Hans Zimmer Remixed by Alvin Risk
Music Composed by Hans Zimmer & The Magnificent Six Feat. Pharrell Williams & Johnny Marr
The Magnificent Six: Michael Einziger Junkie XL Andrew Kawczynski Johnny Marr Steve Mazzaro Pharrell Williams
Arturo Sandoval Czarina Russell Andy Page Adam Peters Ann Marie Simpson
Soloists: Dominic Lewis, Tom Boyd, Stuart Clark, Randy Cooke, Steve Erdody, Walt Fowler, Satnam Ramgotra & Mario Reinsch
Additional Arrangements: Ann Marie Simpson Score Produced by Stephen Lipson & Hans Zimmer Soundtrack Producers: Hans Zimmer & Stephen Lipson Executive in Charge of Music for Sony Pictures: Lia Vollack Music Consultant: Randy Poster
Supervising Music Editor: Melissa Muik Score Wrangler: Bob Badami Music Production Services: Steven Kofsky Music Editor: Nevin Seus Assistant Music Editor: Catherine Wilson Technical Engineer: Chuck Choi, Stephanie McNally & Jacqueline Friedberg Orchestrators: Bruce Fowler, Walt Fowler, Suzette Moriarty, Rhea Fowler & Kevin Kaska Music Preparation: Booker T. While
Copyists & Librarians: Chris Anderson Bazzoli, Brandon Bailo, Marshall Bowen, Leslie Buttars, Dave Christensen, Dave Giuli, Jennifer Hammond, Lisa Janacua, Valarie King, Frank Macchia, Martin McClellan, Aaron Meyer, Melissa Orquiza, Sasiwan Seiter, Karen Smith & Dave Wells
Orchestra Contractor: Peter Rotter Score Recorded at Sony Scoring Stage, Culver City, CA
Band Recorded & Mixed by Stephen Lipson Orchestra Recorded by Alan Meyerson Additional Recordings by Daniel Kresco Score Mix Assistant: Christian Wenger Assistant Engineer on Additional Recordings: Seth Waldmann Pro Tools Operator: Kevin Globerman Score Mixed at Remote Control Productions, Santa Monica, CA
Studio Manager for Remote Control Productions: Shalini Singh Assistant to Hans Zimmer: Cynthia Park Conducted by Nick Glennie-Smith Concert Master: Belinda Broughton
Sony Pictures & Columbia Records would like to thank: Caroline Abs, Tim Ahlering, Kathy Baker, Josh Binder, Kimberly Boley, Will Botwin, Shelly Bunge, Candace Carlo, Valerie Caton, Wendy Christiansen, Kathy Cook, Roger Crameer, Top Dawg, John Fleckenstein, Esther Friedman, Paul Friedman, Michael Frisby, Jody Gerson, Scott Greer, Vickie Hall, Patrick Karnik, Jason Kawejsza, Don Kennedy, Joel Klaiman, Steve Kofsky, Paul Kremen, Ron Laffitte, David Lande, Meaghan Lyons, Debra MacCulloch, Catharine McNeely, Nicholas Naro, Amos Newman, Ashley Newton, Megan Oddsen, Peter Paterno, Nat Pastor, Raul Perez, Steve Plinio, April Pope, Tim Smith, Laurie Soriano, Rob Stringer, Anne Stulz, Sam Taylor, Mitch Tenzer, Caron Veazey & Mark Williams
Hans & the Band would like to thank: Marc Webb, Pietro Scalia, Avi Arad, Matt Tolmach, Amy Pascal, Michael Lynton, Lia "The Empress" Vollack, Raul Perez, Bonnie Abaunza, Jillian Abood, Daniel Ackary, Billy Banyai, Tiffany Bordenave, Will Botwin, Kelly Bush, BeBe Lerner, Rae Murillo & the ID team, Candace Carlo, Leland Cox, Riad Cutuk, Kathy Davis, Teri E. Dorman, Nick Douillard, James Doviak, Ari Emanuel, Luis Galdames, Jody Gerson, David Giammarco, Lee Gilmore, Peter Gorges, Hillary Hendler, Axel Hensen, Eddy Hernandez, Alex Kawczynski, Chaz Labrecque, Ron Laffitte, Cynthia Lu, Christina Mansky, Dustin Marler, Angie Marr, Paul Massey, Jean & Rod Mazzaro, Amos Newman, Albert Nolasco, Eric A. Norris, Mark Onks, Ryan Ouchida, Stephen Paine, Bradley Rainey, Johnny & Harry Russell & Rosie, Beatriz Sequeira, Skrillex, Hamilton Sterling, Dave Stewart, Chris Strong, Sam Taylor, Addison Teague, Top Dawg, Caron Veazey, James, Trish & Max Golfar, Catherine Sanderson, Zoe Zimmer & Vicki Zimmer, Jake Annabel, Max & Suzanne Zimmer & Happy, & everyone at Remote Control Productions
And a Special Thank You to Peter Asher
Release date : 04/22/2014
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(After Gwen arrives to help Peter defeat Electro, the song playing is basically Electro ..... I Think...that the who-did-what on this score is going to end up being an ..... My mind was completely BLOWN after watching The Amazing Spider-Man 2 in ...
To answer your question Lin, I believe it's in No Place Like Home (towards the end of the song)
So I just sat down and watched The Amazing Spider-Man 2 and put in CORRECT order the songs and here it is. And yes, this is the most accurate out of the others because I actually wasted my life sitting for hours doing this and making sure it was accurate for myself and anyone else that wants this.
There He Is I'm Spider-Man Cold War No Place Like Home Ground Rules The Electro Suite Harry's Suite Look At Me You Need Me Song For Zula (playing at the beginning of their "date") I Chose You My Enemy You're My Boy (a form of it but not the full real version) Special Project (once again, a form of it but not the full real version) You're My Boy (full real version) I'm Moving to England Special Project (full real version) I Need to Know Sum Total We're Best Friends So Much Anger Still Crazy (After Gwen arrives to help Peter defeat Electro, the song playing is basically Electro Suite and My Enemy and maybe I'm Electro altogether) I'm Goblin Let Her Go The Rest of My Life You're That Spider Guy
I don't think I'm Electro really has a place. Maybe a bit of it when he's in Ravencroft but that could also be the other scores designated for Electro. In my opinion, Hans did an amazing job scoring this movie and this is probably one of my favorite movie albums ever. Also this movie was a great Spider-Man movie, and I'm saying this as a big Spider-Man fan outside of the movies, and I think it deserved better reviews.
also feels like they cut a part from 'My Enemy' and pasted it into the scene where Electro and Harry first meet
The Electro suite contains very similar parts to two cues: "Max Dillon" and "Max And Harry Meet"
I think this is the correct order of listening, like the film:
There He Is I´m Spider-Man No Place Like Home Ground Rules Look At Me You Need Me So Much Anger My Enemy I'm Moving to England You´re My Boy I Need To Know Special Project Sum Total We´re Best Friends Still Crazy I Chose You I´m Goblin Let Her Go The Rest of My Life You´re That Spider Guy
The album realese tracks are not complete soundtrack, I hope soon we can get the Complete Score. ;)
I'd like to add the track "Cold War" that is after "I'm Spider-Man"
so is this pretty much the correct order?
Thanks for this! The album definitely benefits from re-editing back into chronological order. There's a more clear flow as the score goes from 'carefree, everyday Spider-Man' into chaos as the villains arise and wreak havoc
Do you know the title of that song Peter's listening with his earphones earlier in the movie?﻿
Any idea where "I'm Electro" goes?
Maybe in the scene where electro walks to Times Square...
What song when Peter and Gwen broke up and he is in his room, arranging and putting pictures on the wall of his room? Thank you. :)
When he has headphones on the song is called GONE GONE GONE- Phillip Phillips
I'f I'm not mistaken, "I'm Electro" actually goes during the final fight with Electro, before "I'm Goblin".
It's played during Electro's Oscorp experiments. "The world without Spider-Man".
I am pretty sure 'so much anger' goes before 'still crazy'
Having listened to the film, I'm certain that "I'm Electro" is mistitled and in fact goes before I'm Goblin. In the film, they overlay "Itsy Bitsy Spider" over the top of it.
Am I the only one who's not able to hear "Itsy Bitsy Spider" during that scene? I've seen the film a couple of times now and I still can't make it out....
It's not obvious at first, but listen as Spidey remarks, "I hate that song". It's in the sound effects, not the music.
I agree. Everyone says that's what it is, but I can't make it out very well, either.
Ya I know it's in the SFX and when Spider-Man said "I hate this song", I thought to myself what is he talking about? The second time I saw it in theatres I was ready for it, and I knew it was "Itsy Bitsy Spider", but still couldn't make it out. I wonder if that's included in the sessions and/or is considered a source cue?
Speaking of the theme - am I the only one who hears the first few notes of the "itsy bitsy spider" in the theme that appears at the end of "You're That Spider Guy"? :-)
There's also two cues you can get from Electro Suite: "Max" and "Electro Kills Dr Kafka".
I know this will take a while, but I would LOVE to get a big surprise by seeing the leaked Recording Sessions for TASM2. I love a lot of the score that wasn't included in the album OST. I hope someone would reveal to us the recording sessions soon.....(if only....)
I have to completely agree, although it will most likely be awhile till they do. There are some variations on the OSCORP theme and "family" motif that didn't make it to the album. Not to mention the Itsy Bitsy Spider bit.
On first listen, this score didn't sit so well with me. I wasn't expecting such a departure from the previous scores, even though I knew Horner's themes were not likely to reappear in any shape or form.
It took a second listen - brought about when the film released on home media, to truly appreciate it more. Sure, this isn't Zimmer's best, but at times he's been accused of copy-pasting his scores (mainly since Inception, I think). So this was not just a departure from the previous scores of the Spider-Man series, but also from Zimmer's own previous works. I have to say, it works well given the context, even if there's a little too much dubstep influence in it. Electro's theme has been stuck in my head for a long while - those guitar chords are simple yet back the theme well. The suite's definitely interesting in how it shifts from orchestral to electronic material - thus mirroring Max's transformation to Electro.
I have to say, aside from the opening theme in track 1 and the 2 suites, my favourite cues are "Still Crazy" and "You're THat Spider Guy". This is one Zimmer score I would certainly consider a purchase of a more complete form: it's just a shame that not all the great orchestral moments were present on the OST.
anyone else hear similarity to james horner's music from 3:40-3:53 in your that spider guy? I wish they had mixed james' theme into the score sometimes....the two are similar enough that it would work well. maybe have one follow into the other.
I check the movie again and I can assure the chronologic order of the songs, and sincerely my favourite:
BEWARE BIG SPOILERS:
01. I´m Electro (Album Introduction) 02. There He Is (similar to the piece that is heard during the prologue in the plane) 03. I´m Spider-Man (Spider Symbol and First spider swing) 04. Cold War (Spidey vs Aleksei Sytsevich) 05. No Place Like Home (Gwen speech and Spidey catch Aleksei) 06. Ground Rules (After graduation scene, Gewn and Peter talks) 07. Look At Me (Max Dillon start a new work day in Oscorp) 08. Harry's Suite (Harry and Norman last talk) 09. You Need Me (Peter and Harry recalling childhood) 10. I Chose You (Peter and Gwen new date) 11. So Much Anger (Electro arrives to Times Square) 12. My Enemy (Battle in Times Square) 13. I'm Moving To England (After fight Gwen reveal her plan) 14. You´re My Boy (Aunt May uncover the past) 15. Special Project (Harry betrayed by his company) 16. I Need To Know (Peter goes to Roosevelt station) 17. Sum Total (Harry arrives to Ravencroft institute) 18. We´re Best Friends (Peter and Gwen declare eternal love) 19. Still Crazy (Electro's Last Fight) 20. I´m Goblin (Goblin takes Gwen and last fight) 21. Let Her Go (Gwen falls) 22. The Rest of My Life (Peter five months of depression) 23. You're That Spider Guy (THE BEST SCENE IN THE MOVIE)
'so much anger' can also be put just before 'still crazy'
Why is "Let Her Go" in the soundtrack CD different from the movie? If you watch the movie, the song contains a female voice throughout the whole song
What song when Peter and Gwen broke up and he is in his room, arranging and putting pictures on the wall of his room? Thank you. :)
THe song when he's arranging pictures on the wall is Gone Gone Gone by Phillip Phillips. It didn't make it onto the official soundtrack for some reason.
Hybrid previously posted that the terrific piece in the movie during the clock tower / "Let Her Go" sequence with Olivia Safe on vocals was not included on the soundtrack, because it was a last minute add and the soundtrack had already gone to press. I would love to have it!
Apparently, Hans has Olivia Safe working on Interstellar with him, according to what I read. Who knows?
I finally saw the movie this weekend and loved it and Hans' score compliments that move superbly!
No she's not on IS, she mixed up the 2 projects (she was probably not told what she was recording for... ;)) !
I hope they release a new album where appears the theme of the death of electro, its amazing and doesnt apears in the 2 cd´s :c
Finally saw the movie. The score worked really well for the most part, and there were several FULL statements of the main theme not on the album that should have been on it (such as at one point in the middle of "My Enemy", one point during "Still Crazy", and after Electro is defeated). Also interesting was that the main tune in "I Need to Know" was actually a repeating motif throughout the score, a kind of theme for Peter's parents.
(...also, The Rest of My Life with the vocals was better than without them.)
xmenfirstclass2.com : As according to the news shown by screenrant.com it has revealed a very big spoiler regarding the upcoming great movie from the X men series' next part X men Days Of Future Past. Actually there are some pre-review of the movies that are out and are positive about the movies' plot and character developement. So what is the big spoiler, it is that Wolverine is forced to go back through his own mind to his young body and convince both young Charles Xavier and Magneto to work together and stop the ultimate mass destruction of the mutants from the hands of Sentinals.
Can't wait for the Final Mixes to see the light of day. Really wanting the film version of the music from The Goblin Transformation scene and the second half of the Times Square and Electro final battle scenes.
I Think.. 1-(I'm Electro - composed by Junkie XL - Pharrell Williams) (opening movie version, i hear electric guitar)2- There He Is - composed by Hans Zimmer - Johnny Marr - Junkie XL) 3-(I'm Spider-Man composed by Hans Zimmer) 4-(My Enemy - composed by Pharrell Williams - Hans Zimmer - Junkie XL - Johnny Marr - Andrew Kawczynski - Steve Mazzaro) 5-(Ground Rules composed by Hans Zimmer) 6-(Look at Me composed by Pharrell Williams - Hans Zimmer)7-(Special Project composed by Hans Zimmer & Steve Mazzaro & Junkie XL - Andrew Kawczynski) 8-(You Need Me - Hans Zimmer & Johnny Marr & Junkie XL) 9-(So Much Anger - composed by Hans Zimmer & The Magnificent Six) 10-(I'm Moving England - composed by Hans Zimmer) 11-(I'm Goblin composed by Hans Zimmer - Junkie XL - Mike Einziger - Johnny Marr - Steve Mazzaro) 12-(Let Her Go - composed by Hans Zimmer) 13-(You Are My Boy - composed by Hans Zimmer) 14-(I Need To Know - composed by Hans Zimmer - Junkie XL - Andrew Kawczynski) 15-(Sum Total - composed by Hans Zimmer - Mike Einziger - Junkie XL) 16-(I Choose You - composed by Hans Zimmer - Johnny Marr) 17-(We're Best Friends - composed by - Hans Zimmer & Johnny Marr) 18-(Still Crazy - composed by Junkie XL - Pharrell Williams - Hans Zimmer - Johnny Marr) 19(The Rest Of My Life - composed by Hans Zimmer) 20-You're That Spider Guy - composed by Hans Zimmer)
21- (The Electro Suite - composed by Pharrell Williams - Hans Zimmer - Junkie XL - Johnny Marr - Andrew Kawczynski - Steve Mazzaro) 22- (Harry Suite - composed by Hans Zimmer - Andrew Kawczynski) 23-Cold War - composed by Hans Zimmer - Johnny Marr - Pharrell Williams - Mike Einziger 24-No Place Like Home - composed by Hans Zimmer & Steve Mazzaro & Mike Einziger & Johnny Marr..
I Think...that the who-did-what on this score is going to end up being an absolute nightmare! :p
Do you guys honestly care about who did what? I just like and listen to the music lol
Sorry to be a pest - but can anyone please tell me the one I am suggesting is from 0:48-2:02 this is the trailer - https://www.youtube.com/watch?v=nbp3Ra3Yp74 I am just having such a hard time finding this part of the music.
Were can I find the song like it is in the movie? For example, "Let Her Go", which has a female voice throughout the whole song
That track is called The Rest of My Life on the OST, and the orchestration is different - they removed the female voice. I'm guessing for spoiler reasons....Which sucks because now that track needs the female voice.
I think Hybrid said at some point that that female voice was a last-minute addition and was recorded after the soundtrack album had already been pressed.
Seeing this is the most active thread around, is it true that Hans Zimmer sort of worked with Imagine Dragons? Heard that their new song Battle Cry, which is Transformers 4 theme song!!, he is credited in the credits of the song or something like that.
Is it true somehow? Also, when is the song being released? In case anyone knows, of course
Nevermind, from Bay's official site: "Following an early footage screening of the film, Imagine Dragons wrote the original song “BATTLE CRY,” which Bay used in critical points in the film. Additionally, the band contributed original music during the scoring process by recording cues with Jablonsky, the film’s composer, and Hans Zimmer, who assisted in the process. The collaboration resulted in added depth to the sound of the film."
Wow, Clemmenson of Filmtracks just gave it a one star rating. Seriously? He thought this was worse than 300: Rise of an Empire? Even Winter Soldier?!!! You gotta be cracked in the head to say TASM 2 is worse than that waste by Jackman. I'm sad to say it, but my respect for his reviews just sank a little. Enough to think he's Zimmer-biased? Definitely not. But something's not right here.
Reality check -- he has already provided the world sufficient evidence that he actually is clearly Zimmer-biased. Not that his reviewers or his lousy site are even relevant. He probably operates on a two dollar per month budget for his webhosting, he is probably /that/ guy who makes a few cents a month from adsense ads.
I would rather elect to visit the front page of the westboro baptist church than give that filmtracks site any traffic.
Every artist who tries to break with the rules has to face criticism by traditionalists like Clemmensen. He's that sort of people who just can't accept that the "John Williams era" is over.
Clemmenson gets one star from me, in the form of a finger. Too bad we can't vote that way ;)
Woopsy. Misspelled his name.
trent easton navarro
@bro if you don't think he's even relevant why do you bother to rant about it? So obviously you are bothered by Clemmenson and his site
Yeah why mentioning him ? He only reviews RCP stuff cause it brings more clicks to his dying website than anything else does...
Hybrid, I think you make a good point. I bet he actually likes it more than he lets on, he just gave it one star to drum up some cheap controversy and get a bit of traffic. I think it's his worst review in years (and I usually stand up for the guy). He barely even talks about the music!
This review was hilarious. How is it possible to take comic-book characters so seriously? The guy acts like HE's the only one to know everything about them.
The reason these characters are still alive is precisely because a diverse array of authors have continuously reinvented them through the ages...
@Ds So true! It's also funny how he still rants about MoS and how it's not patriotic enough to him. :D
@Zimson What is the 'John Williams era'? I don't agree with all of this particular Clemmensen review, just as I don't agree with a lot of reviews in general. Even if not all of this score is my cup of tea, I thought it was pretty inventive in parts. I can see where people are coming from when they say maybe he should let off the RCP stuff. I personally would've rather have read his thoughts on the gorgeous 'Philomena' score than disappointments like '300'.
I don't accept the contention that 'every artist who tries to break with the rules has to face criticism by traditionalists'. The current sound we're constantly told is 'breaking the rules' is pretty much the sound de rigueur. It's safe, it's popular, it's not risky at all. Nor do I think people appreciate just how much 'traditional' music, as people see it, breaks 'the rules'.
I find the 'this is the new way', 'JW is over', 'Horner is yesterday' comments are a bit distasteful. It's ironically doing the same thing that they're criticising others of doing. And it doesn't actually give credit on particular scores like this where something new was tried, that isn't completely just following a modern trend.
I can understand why Clemmensen is jaded. There is a particular sound that is dominating mainstream action/drama scoring, and even John Powell recently commented that it's 'ruining' film music. But there are still gems being produced, despite the popularity of crushingly outdated-sounding, limp executions of Zimmer's sound. So I find I can mostly just ignore it and listen to what I want to listen, and write the music I want to write. And these things come and go, it's the current paradigm. They happen in every artistic field, something gets popular, bunch of stuff copies it.
I agree that Hans tries something and that sound becomes the norm for a few years which others imitate. But why blame the man for it as if he's the source of the generic crap that's out there. If others imitate his style, the only thing he can do is try to find a new sound. With MOS, the idea didn't work out as a whole according to me, but with TASM2 the results were excellent. I can't remember a recent superhero score where the hero and the villain have clearly defined and distinct themes. Whatever be the outcome, Hans tries to create a certain sound for a particular film. Why lash out at him if others are responsible for the current trashy droning safe sound? His review for CA:TWS was on a philosophical level regarding society's need for sensationalism. And yet he rewarded it 2 stars. Seriously? I think Clemmensen simply missed the point with this one or he's pretending to thanks to his bias.
I agree with you NM. Most people on this page criticize people who dont like zimmer, thinking they are intolerant, but do exactly the same by saying horner, williams and more are over. The hypocrizy here is beyond everything.
Btw am i the only one who hear the exorcist theme in my enemy?
@NM The "John Williams era" is just a term that I came up with, like the classical or romantic era in music history, but for film music. Williams was defining for the scores between the 70s and 90s, just like Hans is defining for modern action scores, so I thought I simply call that time the John Williams era. By saying that this era is over I mean that hardly any composer today writes music in Williams' style. However, there are still people like Clemmensen who can't accept this fact and react by bashing everything that doesn't fit into their narrow definition of what film music has to be like. This even ends up in insults against, in this case, RCP composers and downgrading of their talents which is by no means justified.
Nobody has to like RCP stuff, but it almost seems like Clemmensen is on a personal jihad or something.
@Zimson Perhaps to an extent you are right. I suppose a lot of the anti-Zimmer sentiment, justified and unjustified, probably stems from the fact that film scores are really the main place you get new, big, complex orchestral pieces regularly commissioned, since orchestras and classical music have eroded in popularity. Across America and Europe many orchestras have been and are in crisis. A lot of orchestras only survive because of public funding or donations. And good luck getting your new opera commissioned! For better or for worse, film is one of the few places you can now hear new orchestral compositions.
Some would argue that value of orchestra in a world blessed with 100s of types of music, is in the challenging and complex structures it offers, and that by diminishing those qualities in an attempt to appeal to a broader base, it loses the value it offers. There is no question that the kind of music over which we are arguing, whatever its merits, is certainly not orchestrally challenging, or thematically complex in the same way your more 'traditional' film music is. So you can understand the upset, that the last refuge for complex, challenging, story-telling orchestral music is, perhaps in their eyes, being diluted.
You could of course, argue the opposite, that film music is keeping the orchestra alive, and it *has* to adapt, and that those concessions in style are necessary to keep a modern audience in touch with orchestral music *at all*. Perhaps you are right, and this simply is 'the way' now (insofar as there can be 'a way'), and we should simply appreciate that this is how orchestras are now, in the main, written for, and appreciate that. And it is absolutely true that film music != orchestral music.
Personally I think there is still a place for challenging orchestral music, and there is still plenty of challenging stuff being written. I think the sound of a pure orchestra in full flow holds an appeal that few can reject and I agree with analyses which states that the problem of decline is more to do with how orchestras market themselves etc. than an intrinsic rejection of the music by the new generation. I personally like synths and electronics and don't mind simple themes, my main disappointment with a lot of modern film music is the lack of a satisfying narrative.
Re: Edmund, "He barely even talks about the music!"
Did the same thing with MoS. I know that score wasn't your particular cup of tea, and yeah, it could have been better in a number of ways even though I do like it, but....yeah, he spent the entire time slamming Zimmer's methods and interview statements. :P
100% agree Mike. Clemmensen did the SAME exact thing when reviewing MoS as he did with TASM 2. He seems like he has an idea of what the movie should be, and judges the scores based on what he thinks the film should have been. I mean, he slams MoS for having no romance, nobility or patriotism. The film didn't have any of those aspects! Superman and Lois don't kiss in MoS until 2 hours into the movie, and 30 seconds later, Supes and Zod are destroying half of metropolis. They way he writes his review, it's as though he were judging Zimmer's music as though Zimmer had written it for the original superman. He didn't; he wrote it for MoS. MoS had no romance, patriotism or nobility, so you won't find that in the music. Clemmensen has turned himself into a joke; in fact, he probably always was....
You're right about Clemmensen's Man of Steel review. Now I might not much like that score, but I'd never give it one star. It deserves at least two. Jackman's Cap score on the other hand... :p
You should have heard me around Filmtracks around 2007. I got SO MAD when he posted his review of At World's End, you have no idea... #@I!@&^$%*@#!!!!
wow, if it is clicks and buzz that guy wanted for his so called review, I am sure he's getting loads by now, all thanks to you guys. No wonder he keeps on bashing the composer. It sure pays off.
@Edmund "I'd never give it one star. It deserves at least two. "
He does seem a bit harsh on Zimmer versus the various influences, rip-offs etc.
"MoS had no romance, patriotism or nobility"
or story or characters.
But I quite liked the score as an album listening experience.
"It sure pays off."
I doubt he gets as many clicks from it as you think.
Edmund: I would have gone crazy too if I even knew about this website back in 2007. When you're fond of a piece of art, when you find it delicate and subtle and immensely, strikingly beautiful, there is nothing worse than hearing someone quickly saying "it is just more of the same shit".
This applies to "At World's End" which is, by my standards, maybe THE best Zimmer has ever put out, a success from the first to the last second of music. And reading Clemmensen treating it just as a random, common Zimmer release, really made me hate this guy.
But back in 2007, at this time I was just a guy who used to enjoy his music at home and did not pay attention to what people were saying on the internet. What a different time it was...
Oh yes Ds, the good old time when I was getting the CDs of Braveheart, Titanic, Armageddon, Star Wars Ep 1, Gladiator, Dinosaur, Pearl Harbor or King Arthur and I just... listened to them, enjoying, not giving a damn about anything...
And then, the internet... For better or for worse, 2005 happened and I got in there... lol
The more I read his review, the more I start getting a little pissed off. If this is Clemmensen's idea of trying to get more popularity, it may work for now but in the end it'll implode on him. Sure, he's getting more traffic now, but if he keeps pulling this crap and starts pissing more and more people off, sooner or later they'll get fed up and give him the old fuck off. He basically is gonna start turning into the Armond White (Google it if you don't know) of film score critics if he keeps this up.
As for Southall, he came in with a better approach in his review and to that extent I think he deserves more respect from me, not because he gave it a **** rating. Really loved his Godzilla review too.
Not sure why any of you even bother viewing filmtracks.com for RCP scores. You people just provide him with traffic, which is exactly the reason he b**ches on about RCP. Want me to put it straight? YOU people fulfil his objective.
He gave 3 stars to Divergent so... I think he even give winters tale a good rating and rush too. Yeah he might be a little bitchy but sometimes he has a point. But at the it just his opinion and you just can agreed to disagreed.
Im not trying to defend him you just need to understand that people has differents opinions
Yeah, I understand to each his own and I can respect one's opinion. But he really jammed the wrong kind of opinions in his "review." I think most will agree that basically he just ranted on and on about Zimmer himself and not the music, save for a few snippets. If he wants to go off on Zimmer, well whoop-die-dee go right ahead cause I can take it. He can even right a freaking book about it for all I care. But don't make nearly all of your review of a film score a big rant about the composer. It's absurd, childish, and very un-critic like, as well as a bullshit treatment of the score itself.
Why all the anger, Ty?
I don't even get why we're 'discussing' his review score to this extent. Like, what's the point? I tried to look at it from a broader perspective and talk about something interesting (changes in orchestral music and why some people react negatively to modern film music) and a (in my opinion) thoughtful post was ignored so we can go back to bitching about Clemmenson. Fuck that. It's every bit as tedious and whiney as some of you guys allege he comes across in his reviews.
This score,to me, was no different from his Superman score so technically the guy should've given at least the same score...
Eh whatever. That guy's opinion and last I checked all he does it write blogs, wait to see who posts a negative comment, and then bans them from commenting on his website, as if he's afraid of bad press.
Last I checked, the guy needs ANY kind of press, really...
Wow, Meta. There's so much wrong with your comment I don't even know where to start.
Perhaps the most obvious thing is that this score actually has an instantly recognizable, fun fanfare as a theme, while Man of Steel's was much more subdued for most of that score......
Had to finish my two cents, NM. I felt like I didn't explain my reasoning for why I was unhappy in the op. And since there's no editing a post I had to make another.
@Meta what? Clarify that for me, please.
@Mike yeah, that was one thing I didn't like about MoS. He kept teasing it until it finally showed in the end credits.
A lot of people here seem to find this score superior to Man of Steel... In my opinion, this is a very good and enjoyable score, with brilliant parts and great ideas, but as a whole I think MoS was just better. I think in a couple of years I'll still be listening regularly to MoS, but I can't imagine the same thing happening with TASM2.
MoS was insanely cool, while being also a serious, intense score full of majesty. TASM2 is only cool and light-hearted. This is no bad thing, but for me it won't last as long as MoS will.
I must really sound schizophrenic when I discuss the MoS score. On the one hand I can understand the criticisms and think of several ways it could be better--especially within the film--but on the whole, I agree with Ds. Man of Steel was far from a perfect piece of work, and while there are things I prefer about TASM2 (a more traditional theme, a sense of levity all throughout, a fresh sound to the whole thing), I would say Man of Steel is still my preference.
I don't really CARE enough to allow my train of thought to stay on the tracks, so whatever....
I still think the guy at Filmtracks is an idiot.
Oh and by my statement of this being the same caliber as Man of Steel, I mean that in the sense that this is Zimmer being very experimental (and employing Junkie XL)
if the tard is going to give MOS 2 stars, then might as well give this one 2 stars....
Im not a huge fan of his recent collaborations, in other words.
the statement of the main theme at 1:52 in cold war is probably the most heroic use of the superhero theme zimmer has yet tried. :P the version with the guitar behind it later in the track is really awesome too.
Hi there, I desperately search the CD track in which we can hear that magic chord at 6sec (I know this is somewhat precise but I do not hear on the CD) Thanks! :) https://www.youtube.com/watch?v=SnfctSWW9Ps
*It seems to me that I heard it at the end of final Electro-Spidey's fight... Thanks again!
Does anybody know if one of these tracks includes the theme played when Spider-Man watches Gwen going to a bar with friends and then sees a fire in a building ? It's a piano theme, also heard in the youtube video "Scorring Spidey". Thank you :)
My mind was completely BLOWN after watching The Amazing Spider-Man 2 in 3D earlier this morning. Hans and the sinister six composers have done an AMAZING job. It's a pity that most of the tracks are not in the original soundtrack or Deluxe Edition. Let's all hope for either the complete film score or music from the recording sessions.
Once again, ONCE AGAIN...
When you say : "the complete film score or music from the recording sessions." it just doesn't make any sense... Because it's the same thing, and it's actually called Final Mixes... :P
I agree here completely, there is a part in the film *SPOILER ALERT SORRY!* When Gwen dies, the music piece that plays during this sequence and then in the mourning shots after are not in the OST at all. In the film it is played with very quiet keys and there is a female choir vocal used subtly too which just sets is off brilliantly. It's the piece I most wanted to hear again but for some reason it's not been included :(
My bad, Soldier... and you're right.
And djd711... I'm with you on the track not found in the original soundtrack. The one part that cracks me up is **SPOILER ALERT** when Hans and his musicians compose the "Itsy Bitsy Spider" portion. LOL I really want this track!
djd711 there's a very good reason the cue at the end with the vocals by Olivia Safe is not included (nor is she credited on the OST) on the OST :
It's a last minute idea that was added to the movie while the soundtrack was actually ALREADY pressed...
Does this mean we may expect a re release one day with all the tracks used? That would be brilliant!
Well Hans told me he was considering doing digital downloads for new material since he has a lot of leftovers... But, you know, knowing Hans, the idea is gonna vanish somewhere and we'll never see it happen... lol
You'll just have to keep reminding him, Hybrid. ;)
Well I had luck with Inception, but that was 4 years ago... I've given up on him unfortunately... You have no idea how much I have been "keeping remind him" for little releases for say, 12 Years A Slave or Mr. Morgan's Last Love... -_-
I can see why Hans didn't want to release 12YAS though. Weird experimental stuff and the same Time/Journey to the Line ripoff cue over and over again...yeah, not the most album-friendly score out there.
I agree, but I would still love to hear Mr. Morgan's Last Love.
There's got to be some good stuff that didn't make the cut of the album, though.
Just saw it in the IMAX format today and the movie was pretty good overall, and the score fit pretty well. The only thing that got nixed was the barely audible vocals for "My Enemy" during the scene it was used for (might've been the audio in the theater but who knows). I'm also pleased overall with the warm reception this score has gotten. And just to think that a little under a year ago there were those who were going bats*** crazy over the fact that Hans took over this franchise and were shredding the poor guy, pre-judging the score and expecting something like Man of Steel. I'd be happy to hear what they have to say now. ;)
Curious what we have to say now?
Well, for me, I'm very pleasantly surprised overall. :)
The Electro theme is very interesting, but it gets annoying pretty soon when in the movie. Overall, this soundtrack is just another cheap, post-modern Zimmer score. You know I like him, TDK is my second favorite soundtrack of all time, but he is lost.
I used to think the same as you, Joker, but I think he's starting to catch himself again. Lone Ranger, Rush and TASM 2 are all pretty good scores to me.
And I'm not sure what in this score constitutes a "cheap, post-modern Zimmer score", a moniker I think Man of Steel deserves, but not this. This has innovative electronic usage, no samples overdubbing the orchestra, woodwinds, a trumpet fanfare theme...not things you frequently see in Zimmer or Zimmer-like scores lately!
I'm glad he uses this trumpet fanfare thing for Spidey's theme, but it sucks. Simplistic, non-engaging... Far, far behind Horner's score.
Those are some pretty wild, ignorant comments.
Man of Steel wasn't /that/ bad, and almost everything the joker guy writes is giving me cancer. I don't agree with you at all.
Zimmer's theme is no more simplistic than Horner's.
Yeah, it's still a simple trumpet fanfare whether you go James Horner or Hans Zimmer. I mean I do like Horner's theme a little more, but Zimmer's is great as well. Electro's theme was actually the highlight of the score for me. Turning dubstep into a competent theme takes a little creativity, not cheapness. This album here proves he's still one of the best composers in Hollywood.
And by the by, I think we can all agree this might be the closest Edmund will be to liking an album that has Junkie XL's name on it, at least for now. lol
Listen to the score, seriously. There are some good ideas and ''ok'' developpement, but my opinion remains the same: It is just a collection of sounds put together.
Actually, Ty, I thought Divergent was decent...but yeah, this is probably the best score so far to have his name in the booklet somewhere. :p
Wait, hang on...didn't he do additonal music for Kingdom of Heaven? Never mind. How the heck did that happen, by the way?
As much as I like Horner's, Spidey 1 lacks a big highlight sequence like the Time Square / My Enemy film/score mix... This is brilliant on screen...
Ed a lot of people work on HGW's scores, and many manage to get lost in the crediting process... I don't think he did more than percussions on KOH though... lol
Yeah, he goes as far back as helping out on Shark Tale with Hans when it comes to RC. I think he then had him work with Gregson-Williams for a little while cause they worked on Domino that same year.
No he didn't help on Shark Tale... Some of his music was used as source but he didn't work on that score... But he arranged Klaus's Catwoman... :P
Ouch, big step up there for him. At least the soundtrack did good for that......thing.
''Saving New-York'' from the complete score was nothing but great.
I agree. I saw this in IMAX as well (though in much better 3D than the first one as well), and DAMN! Listening to that score in IMAX was so mindblowing, especially at the Times Square sequence when we heard My Enemy.
So that guitar riff is Johnny Marr, the vocals are Pharrell (and Dom Lewis), the grungier guitar stuff is Mike Einzinger and, uh, everything else is Hans? :p
Cool video. I think it's very good that a fresh director like Marc Webb can go to two almost polar opposite composers, Horner and Zimmer, and get an interesting and enjoyable score out of both of them. He clearly has very good musical instincts and appreciates what a score can do for his movies, and that's good to see. :)
Webb is a bassoon player, he knows his shit about music... lol
ugh... shouldve just let hans do his thing
Collaborating like this IS Hans' thing!
Well Ed a little bird told me Interstellar is gonna be quite the opposite, Hans on his own... ;)
No Lorne? O_O But Lorne did so much on Inception, I felt sure he'd work a lot on Interstellar....
i don't think hybrid literally means hans "on his own". i think he just means mostly hans, with the standard amount of other guys. has hans composed a movie solo since the 90s?
Great video, and a bit of a spoiler for this scene....always wondered what was happening in the last minute of I'm Electro. This is Hans at the helm -- great stuff. Can't wait for Interstellar! Headed to see Spidey tomorrow.
And as much as "all is going well", no one else either... And anyway Hans has no other film planned this year...
video's not working. Any other link anyone?
It is working. In the link you have to remove the space between 'e' and 'r' in spider.
Hi Hybrid I'm curious, over the past years Lorne has been helping on nearly every score (madagascar, the dark knight, rush), and then he's not on 12years a slave, not on spider man, and not on interstellar????what's going on??Is he leaving rc?
You know he has his own career to handle ? He's busy enough... You can't just spend your whole time helping HZ for 15 years... :)
But if help's needed, he's still around to give a hand... ;)
Yeah I get that ;) I like his music and I really hope he gets his breakout score(like jackman on captain america or jablonsky on transformers), it's about time :) Back on topic the score of this spider man really fits the movie, I wasn't sure about the main theme and the electro sound(especially the voices), but it's perfect...
In what universe is Captain America Jackman's breakout score? Wouldn't that be X-Men? A score that, you know, is actually halfway good?
Well Ed, CC did give Winter Soldier a rather generous 2/5.....
@Edmund, you didn't get what I meant. When I said "breakout", I was talking about boxoffice numbers and/or film popularity. To say tha first class is jackman's breakout is like saying that the island is jablonsky's breakout imo. very good scores that prove they can handle big budget movies on their own, but on movies that earn below expectations or go unnoticed. zimmer had rain man, gregson-williams narnia, jablonsky transformers, djawadi I'd say clash of the titans(crap movie but it brougt some cash lol, and I don't say iron man beacause of the mess it was...), and for jackman I think winter soldier is "that" movie. you get my point?
I see where he's getting at. But if I had to find a breakout for Jackman, according to what you mean Dudu, I'd say Wreck-It Ralph or Puss In Boots. Both made oodles, got Oscar noms, and Ralph was a killer seller on iTunes.
I guess I get it. I still think that X-Men: First Class was a big enough movie to qualify as a big break ($350 million). And if not that, then Wreck-it Ralph. Plus I really doubt Cap 2 will be fondly remembered for its music.
Ty, yeah, I know. I couldn't believe that either. For all of its weaknesses, Man of Steel's score was still much better than Cap 2. Chewing on broken glass is better than Cap 2.