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So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
I'm trying to be objective* (sorry haha)@Anonymous Zimmer's best? Well... I'm trying to be subjective:<br>IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).<br><br>Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.<br>Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.<br><br>Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.<br><br>What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.<br><br>This is all such nitpicking of the highest order :pHans for Star Wars ?<br><br><br>Never.<br><br><br>Ron probably asked him first and Hans probably was like "JOHN POWELL !!"
What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.Poster in SpainA Star Wars score that sounds like a Powell score? I'm in.<br><br>From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.<br><br>I cannot wait for it!Your source?Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesn’t really sound like a typical Star Wars movie. Still fans of Powell will love this new score.
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Geoff ZanelliPhill BoucherPaul MounseySteve Mazzaro
ComposerAdditional MusicAdditional MusicAdditional Music
Pirates Of The Caribbean - Dead Men Tell No Tales
Label: Walt Disney Records
Length: 71'42
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (6041 votes)
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  1. Dead Men Tell No Tales (1:51)
    Geoff Zanelli
  2. Salazar (4:27)
    Geoff Zanelli
  3. No Woman Has Ever Handled My Herschel (3:59)
    Geoff Zanelli, Paul Mounsey, Phill Boucher, Zak McNeil (Hans Zimmer)
  4. You Speak Of The Trident (1:58)
    Geoff Zanelli, Phill Boucher, Zak McNeil
  5. The Devil's Triangle (2:45)
    Geoff Zanelli, Paul Mounsey, Phill Boucher (Hans Zimmer)
  6. Shansa (3:12)
    Geoff Zanelli, Phill Boucher (Hans Zimmer)
  7. Kill The Filthy Pirate, I'll Wait (4:50)
    Geoff Zanelli, Paul Mounsey, Anthony B. Willis (Hans Zimmer)
  8. The Dying Gull (1:01)
    Geoff Zanelli, Paul Mounsey (Hans Zimmer)
  9. El Matador Del Mar (8:05)
    Geoff Zanelli, Anthony B. Willis (Hans Zimmer)
  10. Kill The Sparrow (6:16)
    Geoff Zanelli, Paul Mounsey, Phill Boucher (Hans Zimmer)
  11. She Needs The Sea (2:32)
    Geoff Zanelli, Phill Boucher (Hans Zimmer)
  12. The Brightest Star In The North (6:00)
    Geoff Zanelli
  13. I've Come With The Butcher's Bill (6:41)
    Geoff Zanelli, Steve Mazzaro (Hans Zimmer)
  14. The Power Of The Sea (4:07)
    Geoff Zanelli, Phill Boucher
  15. Treasure (5:43)
    Geoff Zanelli (Hans Zimmer)
  16. My Name Is Barbossa (5:34)
    Geoff Zanelli, Paul Mounsey, Zak McNeil (Hans Zimmer)
  17. Beyond My Beloved Horizon (2:41)
    Geoff Zanelli (Hans Zimmer)
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Oscarilbo reply Replies: 0 || 2018-04-04 22:52:45
Hybrid...
Do you know or intuate any particular reason on why did the Salazar's theme from POTC 5 sounds almost note for note like the intro "theme" from Blackbeard in POTC 4?

My first thought was that Zanelli himself wrote that part on Pirates 4, but apparently he wasn't involved in that one at all. So... It's odd because, I mean, it's POTC Universe of course, but there must be something other than mere "coincidence" I guess.

Mike (OTM) reply Replies: 5 || 2018-04-03 18:57:11
Is it fair to say the many RCP guys vary considerably with how much they think their contributions with Hans "matter"?

Looking at Geoff Zanelli, for example, he seems to be very forthright with saying (or at least claiming, but I'm sure he's being honest) that "these are my contributions, this is my musical voice in Hans' score," etc... And Hans doesn't even get a "themes by" credit on POTC 5, even though themes and sometimes whole cues from Hans and co. get reprised.

But then we have people like Lorne Balfe, who also do a lot with Hans but don't really mention their involvement like it was significant. On Inception, for example, Lorne talks about being the producer of the score, "and I did some additional writing on it." But from conversations on this site, it sounds like that's a bit of a...modest assessment.


George2018-04-03 19:53:55
Maybe my opinion is completely wrong, but maybe GZ is more vocal about his credit because he’s still trying to break out on his own and get a major film to work on other than pirates? Balfe, on one hand, is well on his way and is getting major film deals... same with Henry Jackman, Ramin Djawadi, Steve Jablonsky, etc... so they don’t feel the need to point out “I did that on this Zimmer score, blah blah blah.” but Zanelli, on the other hand, hasn’t really had a break out major film score other than Pirates 5, which I really like. But he’s still trying to get his voice out there, which is maybe why he’s more vocal about what he wants credit for, like in Lone Ranger and Pirates.

Again, that’s just a thought... I could be completely wrong lol.


Edmund Meinerts2018-04-03 20:23:31
Maybe, George, but at the same time it could just be a matter of differing personalities. Perhaps Balfe is more modest and prefers to downplay his role, whereas Zanelli is proud of what he has composed and wants people to know what his work is. Not trying to say that one or the other is a better person or that their way of doing things is right, mind you, just that people are fundamentally different and handle things in different ways.


superultramegaa2018-04-03 21:26:24
Edmund are you saying that you hate Balfe? Edmund your opinions are boring don't you know that? Are you putting Balfe fans down? Are you saying Zanelli is better than Balfe?????

*Trigger Overlay as Peter and Andrew enter the thread*


Edmund Meinerts2018-04-03 21:40:03
Balfe's PR agency doesn't pay Peter and Andrew to enter other threads, I doubt they'll show up here


superultramegaa2018-04-03 23:10:36
We can only hope. As for the credits situation, I think George is right because I've seen the same behavior with Jablonsky. Now that he has a well known franchise and sound people know him for he's been very casual whenever he mentions his credits to Zimmer projects. Like when he mentioned Pearl Harbor in an interview and said nothing more than "I wrote a lot of cues for that one". He barely mentions them like Balfe and Djawadi.

However it's also very possible it has to do with differing personalities too as Jablonsky has been known to be a very humble and unpretentious person about his work. I don't know as much about Ramin and Lorne, but it may be a similar situation there.

Trace reply Replies: 0 || 2018-04-02 20:59:57
in the 4th trailer of dead men tell no tales,
the song that plays after
"What a Horrible way to live!"
It is so epic.
what is it called?
will it be in the full score?

Homer reply Replies: 5 || 2018-02-26 18:36:55
Was there a specific reason Hans didn't return to score Pirates 5? Did he have a bad time on 4? Would he return for 6 if Gore Verbinski directed?


Max Potcats2018-02-26 21:03:56
Well, Hans was working on Dunkirk and preparing his tour then. Or maybe he just red the script of P5 :P


MrZimmerFan2018-02-26 21:24:24
Or still piss of with Bruckheimer


Olive2018-02-26 23:08:38
Did he pissed with Bruckheimer?


Bukowski2018-02-27 14:03:17
Zanelli did most of the work for the other sequels so he let him take the lead this time. Still sounds like a corporate soundboard to me.



Bibi2018-02-27 14:17:37
I think if we ask me to do just a "best-of" of my precedents scores without any cohérence and entirely based on temp-tracks... I will never sign for any sequel again.

Peter reply Replies: 1 || 2018-01-27 17:01:33
When will the album in the version "Complete Motion Picture Score", "Expanded Motion Picture Score", or maybe "Recording Sessions"?

I can not wait


Hybrid Soldier2018-01-28 08:04:32
Today

ak reply Replies: 2 || 2017-12-19 18:59:06
I wonder why they didn't use Jack's action theme from DMC. There were many moments in the film where it would've worked


Iamtommie2017-12-19 20:07:02
It's the bank heist. When Jack is pulled back by rope and lands on his chest.



james (now james callahan)2017-12-20 02:57:06
Even though I really liked the current theme for Jack and put it up together as one of the best themes of the franchise, I also missed and missed the cello melody of the previous entrances and the comic subthene played by the flutes.

George reply Replies: 0 || 2017-12-04 18:34:16
I honestly like this score a lot but man whoever mixed this needs to be fired. I feel like maybe Zanelli wanted so many things to be heard in the score which, in my opinion, muddled it up a bit and “frontloaddd” it, meaning there is a lack of depth to these tracks and makes it sound kinda flat :/ I’d pay good money for someone to re-master this score.

Hybrid Soldier reply Replies: 3 || 2017-10-29 11:06:43
And if you want the full cuesheet (no, don't ask "when leak ? when leak ?", it's just a cuesheet lol) :

PROLOGUE
Geoff Zanelli

FATHER AND SON
Geoff Zanelli, Zak McNeil (Hans Zimmer)

9 YEARS LATER - DEVIL'S TRIANGLE
Geoff Zanelli, Phill Boucher (Hans Zimmer)

GHOST ATTACK
Geoff Zanelli

CONFESSION
Geoff Zanelli, Phill Boucher

CHASE CARINA
Geoff Zanelli, Paul Mounsey (Hans Zimmer)

NO WOMAN HAS EVER HANDLED MY HERSCHEL!
Geoff Zanelli, Phill Boucher, Zak McNeil (Hans Zimmer)

BANK HEIST
Geoff Zanelli, Phill Boucher, Zak McNeil (Hans Zimmer)

MY BANK Geoff Zanelli, Phill Boucher (Hans Zimmer)

NO LONGER OUR CAPTAIN
Geoff Zanelli, Zak McNeil (Hans Zimmer)

SPEAK OF THE TRIDENT
Geoff Zanelli, Phill Boucher, Zak McNeil

WASHED UP JACK Geoff Zanelli, Zak McNeil (Hans Zimmer)

COMPASS
Geoff Zanelli, Paul Mounsey (Hans Zimmer)

JACK ARRESTED
Geoff Zanelli, Zak McNeil (Hans Zimmer)

SILENT MARY ATTACKS PIRATE SHIP
Geoff Zanelli, Phill Boucher

CARINA WRITES ON WALL
Geoff Zanelli, Phill Boucher

HENRY FINDS JACK
Geoff Zanelli, Zak McNeil

MESSAGE FROM SOMEONE YOU KNOW
Geoff Zanelli, Anthony B. Willis (Hans Zimmer)

DIVERTIMENTO IN E-FLAT MAJOR FOR STRING TRIO
Geoff Zanelli, Zak McNeil (W.A. Mozart)

BARBOSSA IN CABIN
Geoff Zanelli (Hans Zimmer)

ARRIVAL TO EXECUTION SQUARE - GUILLOTINE
Geoff Zanelli, Paul Mounsey (Hans Zimmer)

KILL THE FILTHY PIRATE - EXECUTION SQUARE
Geoff Zanelli, Anthony B. Willis (Hans Zimmer)

LAUNCHING THE DYING GULL
Geoff Zanelli, Paul Mounsey (Hans Zimmer)

UNREASONABLE DIRECTION
Geoff Zanelli, Phill Boucher

BLUFFING AND BLUSHING
Geoff Zanelli, Zak McNeil (Hans Zimmer)

SCARFIELD WANTS THE TRIDENT
Geoff Zanelli, Phill Boucher (Hans Zimmer)

JACK AND HENRY
Geoff Zanelli, Phill Boucher (Hans Zimmer)

SCIENCE OR SUPERSTITION
Geoff Zanelli, Paul Mounsey

FLASHBACK
Geoff Zanelli, Anthony B. Willis (Hans Zimmer)

HOROLOGIST
Geoff Zanelli, Zak McNeil (Hans Zimmer)

SHARK ATTACK
Geoff Zanelli, Phill Boucher

CAN'T STEP ON DRY LAND
Geoff Zanelli, Paul Mounsey (Hans Zimmer)

THE ANSWER IS ON THAT SHIP
Geoff Zanelli, Phill Boucher (Hans Zimmer)

IT'S YOUR WEDDING DAY
Geoff Zanelli, Zak McNeil (Hans Zimmer)

KISS THE BRIDE
Geoff Zanelli, Zak McNeil (Hans Zimmer)

DOUBLE-CROSS THE DEAD - RELEASE THE BLACK PEARL
Geoff Zanelli, Phill Boucher (Hans Zimmer)

SHIP RACE A
Geoff Zanelli, Phill Boucher (Hans Zimmer)

SHIP RACE B
Geoff Zanelli, Paul Mounsey (Hans Zimmer)

ORPHAN - BRIGHTEST STAR IN THE NORTH
Geoff Zanelli

THE TRIDENT WILL BE MINE CANNON BATTLE
Geoff Zanelli, Steve Mazzaro (Hans Zimmer)

BLACK ROCK ISLAND - TRIDENT
Geoff Zanelli

HENRYZAR
Geoff Zanelli, Phill Boucher

TREASURE
Geoff Zanelli (Hans Zimmer)

MY NAME IS BARBOSSA
Geoff Zanelli, Paul Mounsey (Hans Zimmer)

REUNION
Geoff Zanelli, Zak McNeil (Hans Zimmer)

MAIN ON ENDS
Geoff Zanelli (Hans Zimmer)

THE TRIDENT WILL BE MINE CANNON BATTLE (END CREDITS)
Geoff Zanelli, Steve Mazzaro (Hans Zimmer)

FLASHBACK (END CREDITS 1)
Geoff Zanelli

NO WOMAN HAS EVER HANDLED MY HERSHEL! (END CREDITS)
Geoff Zanelli, Phill Boucher

BANK HEIST (END CREDITS)
Geoff Zanelli, Phill Boucher, Zak McNeil (Hans Zimmer)

FLASHBACK (END CREDITS 2)
Geoff Zanelli, Anthony B. Willis (Hans Zimmer)

BARNACLES
Geoff Zanelli


Iamtommie2017-10-29 12:11:24
Thanks thanks thanks!!! This is awesome!!


mpolonest123 2017-10-29 14:17:18
Thanks for this! It’s a shame the full bank chase cue and the variations on “Barbossa is Hungry” were never released.


Mandarin2017-10-29 15:54:35
Thanks!! Guess, it's sfx...

Hybrid Soldier reply Replies: 1 || 2017-10-26 11:01:05
Composer credits !


David2017-10-27 05:30:45
Thanks!!!! :D

No themes by Klaus Badelt though? Or Blake Neely? :(

Peter reply Replies: 3 || 2017-10-23 16:24:43
When Will Complete Motion Picture Score


Mandarin2017-10-23 20:18:29
Soon™
Soon™ - when disneys want.
Actually the number of tracks isn't even leaked. Complete score for "On Stranger Tides" was in 2012, maybe we'll see DMTNT in 2018


Mandarin2017-10-23 20:20:10
Sorry, complete for "On Stranger Tides" was in 2015...
"crying..."


Peter2017-10-23 22:15:55
I am doing the private Complete Score With SFX album for myself, I am separating scenes, where the music is playing, I am holding the Original of the Film of course Pirates of the Caribbean Dead Men Tell No Tales - Salazar's Revenge. And I am asking, since I don't know how works are called, and in the film the music is probably interfacing, there are no breaks.
Sorry, I am from Poland and with difficulty for me with English
I am doing everything through explain the Google

mpolonest123 reply Replies: 10 || 2017-05-31 18:06:24
Honestly this score has been growing on me. Granted, it's definitely not in the same league as the other three but I do have to give Zanelli props for treating the material with respect and putting some actually effort into it. Even the themes, which I didn't really grasp the first few listens, have begun to stick with me (particularly the 'trident' motif). It's one of those scores where repeated listens definitely improve the experience.

I think one of the big issues that I've noticed is that Zanelli's writing style doesn't seem to mesh as well with the previous Pirate tunes. The recording mix certainly doesn't help either. The overall sound somewhat lacks that beefier Zimmer style which, to a degree, is understandable. Also, whoever forced the temp of Beckett's death in "Treasure" should be flogged.

Last but not least, I think this album certainly could have benefitted from some more suite type cues, assuming Zanelli wrote any. Say what you will about Zimmer inundating his albums with suites, at least it gives you an idea of the development of themes for that particular score. Just my two cents.


PLEASE2017-05-31 18:46:03
does anyone know the song that pays on the string quartet when they first introduce Barbossa in the movie?

He is eating what looks like marshmellows and scratching his head during this scebe. Please guys!


Oscarilbo2017-05-31 19:44:14
I keep wondering why anyone would feel like that about the new themes when Zanelli himself wrote several themes throughout the whole franchise?

His themes (at the least) includes Tia Dalma theme, the Music Island from DMC and The Spaniards theme from OST, and nobody said anything about not "meshing" well. I think if Zimmer had written them, maybe would have been criticized for not being as catchy as the main ones, but not for not matching with the rest.

Besides, I don't remember any of the main themes of the whole saga learned and sticked with me after several listens. I do loved them immediately the first time I watched the movies and listened to the albums, but couldn't humble them after a while (specially my favorite theme of all which is the AWE main theme. Same happened with The Force Awakens new themes).

So I think they are good-to-great themes, just wait a little longer.


mpolonest123 2017-05-31 19:58:48
I never said the themes themselves don't mesh, moreover the writing style/orchestration/recording mix of this particular score. Understandably, Geoff Zanelli isn't Hans Zimmer so obviously DMTNT isn't going to sound like Zimmer. But I do find it somewhat interesting that the previous Pirate scores, despite each having about 8 or 9 different composers on the team, always had a cohesive sound.

When listening to them as a whole (without the credits included) you can't always necessarily point out individual voices in the score as far as style or orchestration (such as that's a Zanelli or Jackman cue). That's one thing Zimmer has always excelled at, being able to write music in a group setting and always pull it together with one distinctive sound and cohesiveness. When I listen to this album I can obviously hear it not being from the same group that did Curse of the Black Pearl and so on.

It might sound like I'm complaining but I do like the fact that Zanelli wrote this in his own voice. I just feel like the reprises of previous themes do somewhat expose the differences in style and whatnot. But hey, that's just me. Overall I genuinely like this score, even the Salazar theme has grown on me (and to be fair I never really cared for Blackbeard's tune)


mpolonest1232017-05-31 20:01:21
And to clarify one thing, I do know that you can hear some DNA of the different ghost writers in the previous scores, but each cue meshes insanely well together without feeling like a team effort as opposed to TASM2 or Rango.


Oscarilbo2017-05-31 20:42:17
Oh I see.. sorry, I understand you better now.

And yes, I totally agree with you... it sounds different, but I think, by the interviews with Zanelli, you can tell is not by accident. In fact, for me at least, it sounds closer to a wider orchestral soundscape quality if you will than previous POTC scores. Which if you listen to pasts Zanelli's works you'll find more understandable (his personal musical preferences leans a little bit more towards classical than Zimmer's)

I listened the score with my Senn HD598 headphones and contrary to what others say, I found it to be a more breathable, wider, and orchestral recording than the previous soundtracks.


mpolonest123 2017-05-31 21:26:25
Yeah, I definitely agree. It has (for lack of a better word) a more swashbuckling sound as opposed to the faux rock style of the first two or the epic movements of AWE.

And DMTNT would definitely have sounded different regardless of who wrote it. Imagine a Lorne Balfe take on the idea. Or a John Powell. Or a Junkie Xl (lol)


Oscarilbo2017-05-31 21:56:25
Exactly! ... liked the expression; a bit more of a "swashbuckling sound" is just what I tried to say. If I recall correctly is part of the "freshness" they wanted to "reboot" with this franchise.

And yeah, definitely it would have sounded different with any of those.



MrOLX2017-06-26 15:11:32
This theme is probably Branderbourg Concerto no. 3.


MrOLX2017-06-26 15:19:45
Oh, theme is Brandenburg Concerto no. 3, no Branderbourg Concerto no. 3.


mpolonest123 2017-09-16 02:18:43
Just saw the film recently and boy, what a mess. In some ways it’s worse than Stranger Tides, mainly because the writing comes across as fan fiction and you can tell that they put effort into making it, which increased my personal disappointment.

The score on the other hand, after hearing it in context, is incredible. While my issue with the recording mix still stands, Geoff knocked it out of the ballpark. Each theme is used correctly and actually receive development throughout. And there are SEVERAL unreleased cues that stood out to me. The only reason I want this franchise to continue is to hear what else he would write lol

David reply Replies: 3 || 2017-07-25 10:15:50
Doesn't beat the first three films, however, I think this score is brilliant in its own right. I love the new themes Zanelli brought to the table (Carina/Barbossa theme, Salazar's theme, Adventure theme, etc.) and he did a fantastic job at blending old and new music to create something that sounded unique, yet classic at the same time. Cannot wait until the Complete Score is released.

I would say On Stranger Tides is my least favorite score (although it has some fantastic cues and themes (Blackbeard's theme, Angelica's theme, Spanish theme, etc.). Just felt like it was really missing the heart and emotion of the first 3 scores, which Dead Men Tell No Tales brought back. Honestly, it's still a fantastic score, and much better than the majority of blockbuster soundtracks I hear today.


David2017-07-25 23:32:25
Oh great, there's another David! :/

It's funny you and Everan (over on the TF5 page) think the complete scores for these films will be getting "released"! :P


Everan2017-07-26 02:27:59
Never said they will be released, I said might.


David2017-07-26 12:05:47
When I say "released" that doesn't necessarily mean in a...legal sense

Catastrophic Jones reply Replies: 3 || 2017-07-21 01:40:42
Having gotten the chance to meet Geoff a couple months back at the ASCAP Expo (albeit very briefly) it was clear he was very enthusiastic about working on Pirates, and even The Lone Ranger which the Disney soundtrack executive tried to silence him on talking about lol While nothing will ever compare to the original trilogy, score wise and film wise, this is a very nicely executed extension of the music in the world of Pirates. It's on the scale of honoring the original style and themes while injecting some new material much like what Giacchino did with Rogue One, which I happened to have liked as well. It's not meant to be the kind of score that stands out as 'unique and different', it's about honoring the tradition. I look forward to hearing what else Zanelli has to offer in the future.


Callahan2017-07-21 01:54:17
Yes. PoTC 5 is not the best score of the franchise, but it sure is, until now, the best CD that RC / MV produced in the year.


Hale2017-07-21 13:31:50
Wonder Woman wasn't too bad :D


Callahan2017-07-21 15:44:49
I agree, but this one is much better.

romuald reply Replies: 6 || 2017-07-10 19:20:55
Hello,

Anyone can tell what is the instrument used in Dead Men Tell No Tales at about 1:00, I like it.

Regards

Romuald


James2017-07-10 19:40:06
A duduk.


Max Potcats2017-07-10 23:14:36
Wasn't it used in Gladiator and in At World's End (at the end of the discussion with Keith Richard and Sparrow ?). Sounds like


James2017-07-10 23:57:55
Indeed


Iamtommie2017-07-11 10:06:51
It's also used in the first Narnia. In a Narnia Lullaby. This is what Tumnus is playing in his house.


romuald2017-07-11 10:26:10
Thank you everybody, what a cool instrument!!! Could I find a plug in with this instrument???

Romuald



Patrick2017-07-11 13:41:10
There are some VST plugins, e. g. as part of the Quantum Leap East West RA Collection by Soundsonline (~300$), Desert Winds by Bestservice (~111€) and Ilya Efimov Armenian Duduk (~70€). There are also some free ones, but their sounds is more or less MIDI ringtone quality, e. g. "Oriental Scale" (vst4free.com/free_vst.php?id=417)

Nick reply Replies: 4 || 2017-06-25 10:32:24
I must be the biggest weirdo in all of film score history, because the highlight of DMTNT for me was "I've Come With the Butcher's Bill." It resonated instrumentally, most notably that badass cello (?) at around the 2:35 mark, it was the perfect blend of old and new themes, and best of all, it sounded like a swashbuckling theme. As much as I loved the action cues in the first three, I sometimes felt that they resembled a Latin hell choir more than a traditional pirate piece, especially AWE. It's good listening, but sometimes it sounded more like Gregorian Chanters of the Caribbean. :P
I seriously blast Butcher's Bill out loud on the highway, I love it so much.


mpolonest123 2017-06-25 16:01:17
Not at all! ; ) That's one of my favorite tracks as well. I would also throw in the major chord progressions of the Trident theme in "Power of the Sea" and the INSANE electric cello statement of Salazar's theme at 3:00 in "Kill the Sparrow". Great workout tracks!


Hybrid Soldier2017-06-26 16:37:41
That cue is Mazzaro !


...2017-06-26 17:05:02
Does anyone notice the Barbossa/Beckett theme from On Stranger Tides at 1:52 in "Shansa"?


Medigo2017-06-27 18:15:00
shame the movie decided to apparently remove the electric cello Salazar rendition
boo!

PLEASE reply Replies: 1 || 2017-05-31 18:46:56
does anyone know the song that pays on the string quartet when they first introduce Barbossa in the movie?

He is eating what looks like marshmellows and scratching his head during this scebe. Please guys!


MrOLX2017-06-26 09:13:16
Probably Branderbourg Concerto no. 3

David reply Replies: 2 || 2017-06-06 07:34:21
Hey Hybrid is there any chance you could update the tracklist with which pieces contain material written by HZ & Co from the previous 4 films? Please?


Iamtommie2017-06-21 00:09:06
1. "Dead Men Tell No Tales" 1:50
2. "Salazar" 4:33
3. "No Woman Has Ever Handled My Herschel" (includes elements of "He's a Pirate") 3:58
4. "You Speak of the Trident" 1:58
5. "The Devil's Triangle" 2:45
6. "Shansa" 3:12
7. "Kill the Filthy Pirate, I'll Wait" (includes elements of "He's a Pirate", "Jack Sparrow" and "Hoist the Colours Suite") 4:50
8. "The Dying Gull" (includes elements of "Hoist the Colours Suite") 1:00
9. "El Matador del Mar" (includes elements of "One Last Shot", "He's a Pirate", "Jack Sparrow" and "The Medallion Calls") 8:05
10. "Kill the Sparrow" 6:15
11. "She Needs the Sea" (includes elements of "One Last Shot", "Jack Sparrow", "Wheel of Fortune" and "The Medallion Calls") 2:32
12. "The Brightest Star in the North" 6:00
13. "I've Come with the Butcher's Bill" (includes elements of "Lord Cutler Beckett", "Swords Crossed" and "Wheel of Fortune") 6:40
14. "The Power of the Sea" 4:07
15. "Treasure" (includes elements of "The Black Pearl" and "I Don't Think Now Is the Best Time") 5:43
16. "My Name Is Barbossa" (includes elements of "One Last Shot", "Marry Me" and "Jack Sparrow") 5:34
17. "Beyond My Beloved Horizon" (includes elements of "He's a Pirate") 2:40


Guy Fawkes2017-06-21 16:00:13
"No Woman Has Ever..." also includes The Medallion Calls and Jack Sparrow. And "Kill the Filthy" also includes Marry Me. This list is way estimated... The best thing it will be know the credits of every song, I think.

Can I Just Say... reply Replies: 0 || 2017-06-21 13:32:48
That 6:09 to 6:38 of "El Matador Del Mar" was clearly temped with 6:36 to 6:59 of "Barbarian Horde" from "Gladiator". It stood out so much that I had to do a double take and replay the track just to make sure I wasn't listening to the wrong album! But overall, I have really enjoyed this album: it is a nice extension and slight development of Hans' (and others') themes from the previous movies, and Zanelli's new additions (although a bit bland and generic) really fit in musically to the "Pirates of the Caribbean" sound we've come to know (and which some of us love). I actually also like the mixing work that was done on the soundtrack: it really gives the orchestral recording a big, thick, organic sound, much more so than the previous scores which were quite synthetic (even "On Stranger Tides", with barely any synths used at all, was mixed to a degree where it still sounded relatively unnatural and overly bassy).

Leo reply Replies: 6 || 2017-06-03 12:40:26
In Dead Men Tell No Tales, what is the song that plays right after Barbossa tells Jack "Time to race the dead."? The theme plays while Jack is complaint about going away from land.


Mandarin2017-06-03 18:34:45
Unfourtanately this theme wasn't included in the OST. Seems like we have to wait for complete score.


Pirate's Life2017-06-05 13:12:17
When will be the complete score?


iamtommie2017-06-05 14:11:02
I base my answer on last years Captain America: Civil War's complete score.
Civil War also out in May. The tracklist of the complete score was on this website in October. At the end of Decemeber the complete score was released.

Maybe this will be the same with Pirates 5


George2017-06-05 15:49:06
Well I hope that in the complete score release there will be more suites. I love the new adventure theme but I would like a track with it having more play time and more development, guess we'll see though


Mandarin2017-06-06 20:49:19
Complete score is usually released all of a sudden. We will be happy if it actually is released. Still waiting for complete score of Batman v Superman and Inferno...


Nikolas 2017-06-17 23:46:46
The song you are asking is a remake of the "Barbossa is Hungry" from the first movie

Alexander reply Replies: 0 || 2017-06-06 14:12:17
For anyone here who is listening to vinyl music as well, the company "music on vinyl" is now trying to get the rights to press the pirates scores on vinyl :)

  Your name :   

Please enter number: 1568 

James reply Replies: 0 || 2017-06-06 02:20:03
Where is the suite?

dnp reply Replies: 0 || 2017-06-05 18:16:57
not good

iamtommie reply Replies: 3 || 2017-05-31 13:01:08
I've seen the movie twice and I concluded that "The Brightest Star In The North" is split up in the movie. In the movie in between the two pieces "I've come with the butchers Bill' is heard.


David2017-05-31 15:52:28
Having seen it twice are you able to put it in chronological order?? :D


Iamtommie2017-05-31 15:57:00
Yes, why not. I'm a filmmusicfreak, so I know most of the soundtrack by heart. So if I watch yhe movie I can easily put the right tracks under the right scene.


Medigo2017-06-01 23:26:16
the tracks seem to be mostly chronological anyway
and none of them are suites

Oscarilbo reply Replies: 1 || 2017-05-31 22:19:04
https://youtu.be/3mUcaauaNrs

If you want to listen to a very interesting interview with Zanelli discussing not only his composer career, but his input on the POTC saga from COTBP to DMTNT to a great detail, here it is from Film.Music.Media, just released 6 days ago.


Lejti2017-06-01 15:32:12
This video is on the main page of the site.

zulu reply Replies: 1 || 2017-05-31 16:40:58
Worst Movie & Score ever!


Alexander 2017-05-31 17:30:28
Come on it is not the worst score ever. For sure it can't lift up to "At worlds end" but with "At worlds end" the bar has been risen very high. It's a nice too hear score and it is a bit like the first one.

Jack Afrogarrix 2017 reply Replies: 3 || 2017-05-30 00:08:23
Nice Music By Geoff Zanelli This Is my First Time I see The movie And Is Awsome . But With Hans Zimmer's pirates Theme plus With Salazar's Theme best movie & Score Ever


Edmund Meinerts2017-05-30 00:43:27
Best Movie and Score Ever?????? WOW!!!!1!!111!1!oneoneone1!1!


Amber2017-05-30 01:31:15
The score is good. In the same level of the first and second ones. The only problem is the weakness of the new themes.For a pirate score: 3,5/5


Mephariel2017-05-31 16:18:26
Best Move AND Score ever...WOW


Dan reply Replies: 3 || 2017-05-29 17:13:06
Twice heard and already the first time it was exhausting. The biggest disappointment of the year! Typical 08/15 score


Meta2017-05-29 18:17:35
I see nothing wrong with this score.

It doesn't have the gimmick of Tides with the Spanish guitar riffs, doesn't have a crappy album presentation, sounds pretty much like a pirates score...

and at least has a couple of decent themes in it, to boot.

At film number 5 I don't expect genius. I expect serviceable and respectful to what came before, and we get that here....

No prob, Bob!


Iamtommie2017-05-29 18:25:52
If you listen to El Matador Del Mar from 4:50 to 6:50, you can't say it'sthe biggest dissappoinment of the year. That cue and a bunch of ithers are very 'Pirates'.
Together it is a good solid score.


Dan2017-05-29 22:13:07
It is my opinion! Just because a minute or so good is not the whole soundtrack is great.

Alexander reply Replies: 2 || 2017-05-29 19:10:19
Is anyone here who thinks that the version of the opening music which joachim roenning has posted, on his instagram, sounds much better than the one that is used in the movie ?!?


Hybrid Soldier2017-05-29 19:17:51
It was a previous version and honestly, it was just POTC 2's opening rip... lol


Alexander 2017-05-29 21:09:31
Yea sounds a bit like pirates 2:D I still think that the "demo version" was much better because of its melody, the film version is just the beat if you want so.

Miska reply Replies: 3 || 2017-05-28 12:44:39
Do anyone know what was that soundtrack that plays at opening scene? There where The Flying Dutchman rises from the sea, adn will and Henry have a little discourse. I think it`s some variation of "one day".


Hybrid Soldier2017-05-28 12:51:25
It's not in the OST release... :/


Eric2017-05-29 03:48:36
It's the same as One Day just re-scored


Alexander2017-05-29 19:00:35
I think it is a huge mistake that this is not on the score because it is (in my opinion) one of the best version of "one day". And its the full song and not just a short version like "my name is Barbossa". But at least you can say that the version in the ending scene sounded very very big and majestic.

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Pirates Of The Caribbean - Dead Men Tell No Tales soundtrack - Geoff Zanelli 2017